HD digital sublimation for perfume flacons, caps and candle jars. Full 360° decoration, base to neck, up to 1200 dpi — on the tapered, curved and faceted geometries that define luxury perfumery, caps included. From 5,000-piece limited editions to several million units per project, produced in Verona, Italy.
Trusted by houses within the LVMH group.
Tapered shoulders, curved faces, concave details, sculpted bases — the shapes that define a luxury flacon are exactly what standard decoration refuses. Digital sublimation covers the full surface, base to neck, in one 360° operation — no seam, no colour break, no undecorated side. The artwork is designed for the whole object, not for one flat panel.
A fragrance is judged as one object, and the cap gives away more than most briefs admit. The same process decorates glass, zamac and aluminium — so flacon and cap carry one continuous artwork, matched and produced under the same colour management, instead of two technologies that almost match. The approach behind Bvlgari Le Gemme Tygar, below.
Up to 1200 dpi with no limits of colour or shades — photographic gradients, generative art, textile-grade pattern — transferred to the surface exactly as the file describes it. And pricing is independent of design complexity: what drives price is decoration typology and top coat, vessel size and quantity. Millions of shades are quoted like a one-colour crest.
Digital sublimation at ATIU — Verona, Italy
Whatever you can design, we can make real.
When the perfume formula becomes the artwork.
For Le Gemme Tygar, Bvlgari worked with digital artist Refik Anadol: the perfume formula became a dataset, and Anadol’s AI system turned that data into the visual language of the packaging — a living artwork with no limits of colour or shades, meant to be reproduced without simplification.
ATIU translated it to the components with digital sublimation over a premium metallic soft-touch primer — tactile softness, metallic iridescence and a full-colour wrap in one build. The artwork runs continuous across the glass flacon and the zamac cap, ennobled and matched to the glass so the two materials read as one continuum — recognised with a Formes de Luxe Award 2025.
Decoration: ATIU
Read the full project →Before the artwork, the surface. The primer sets the character of the flacon — how it catches light, how it feels in the hand, whether the glass and the juice stay visible. Eight finishes, each available as full-body, partial, sheer or gradient coverage, each carrying the same HD artwork on top. A creative decision, not a technical afterthought.
The NDA is signed before a single file is exchanged — big-house confidentiality is our normal operating mode, and your artwork remains your intellectual property. You share the flacon reference, the artwork and your Pantone or Cromalin colour targets. That's all we need to start.
The sample is produced on the production line itself, with colour matched in calibrated CMYK from your references — not a lab mock-up, but the exact output the line will repeat. Five working days from component arrival, and it's in your hands.
The piece you sign off is locked as the production reference, held to agreed ΔE or light/dark limits throughout the run. Every bottle that ships is measured against the sample you approved — what you approve is what ships.
From 5,000 units for a flanker or limited edition to several million for a permanent SKU, all held to the approved reference. EXW or DAP worldwide, around one month from PO, retro-planned against your filling schedule — with a trial pallet on request to validate your line first.
Test, don't guess
With sublimation, the rendering and the finished flacon are practically the same object — what comes off the line matches about 95% of what you see on screen. So a render isn't a sketch of an idea: it's a preview of the real piece. Render the concepts on your own bottle, let your creative director draw the shortlist, and put it quietly in front of a panel of real category buyers. The edition launches as the house's own decision — with evidence behind it, and without a single euro of volume committed to find out.
ISO 9001 · EcoVadis Committed · Zero net CO₂ since 2023 · Verona, Italy
Digital sublimation uses a waterborne coating and waterborne inks, adds no plastic to the component, and cures at temperatures never above 180°C. The decoration is a minimal surface layer — the glass stays fully recyclable.
Behind the process, the company: zero-net carbon since 2023 — Scope 1, 2 and 3, certified with Up2You — EcoVadis Committed and ISO 9001 certified. Decoration increasingly lands on the CSR desk as well as the creative one; this clears both.
Request a mock-up
Send your flacon reference and your artwork — we send back sublimation renderings on your own bottle. Then a production-line sample in five working days. No setup costs. No commitment.
Yes. The same sublimation process decorates glass, zamac and aluminium, under the same colour management, so flacon and cap can carry one continuous artwork with no break where the materials change. On Bvlgari Le Gemme Tygar × Refik Anadol, the zamac cap was ennobled and matched to the glass so the two components read as one continuum.
For perfumery projects ATIU specifies a protective top coating for chemical resistance as standard. Perfume means prolonged contact with alcohol and essential oils, plus daily handling — the top coat is engineered for exactly that exposure, the artwork is cured into the coating so it is part of the surface, and everything is validated on the production-line sample you approve.
From 5,000 units, up to several million units per project — with volume thresholds up to one million units on the price list. Pricing is independent of design complexity: it is driven by decoration typology and top coat, vessel size and quantity, so an ambitious artwork costs the same as a simple one.
Five working days for a production-line sample — produced on the same line as the full run, so the sample is the production standard, not an approximation of it. Production lead time is around one month from PO, retro-planned against your launch date.
Colour is matched from your Pantone or Cromalin references in calibrated CMYK. You approve the physical sample, which then becomes the production reference — held to an agreed dE tolerance or light/dark limit standards throughout the run.
Every project starts under NDA, before a single file is exchanged — standard practice, and large-group confidentiality requirements are welcome. Unreleased names, artist collaborations and launch dates stay inside the team that needs them. Your artwork and design remain your intellectual property at every stage, without exception.