Category: Audemars Piguet Watches


AUDEMARS PIGUET Code 11.59 by Audemars Piguet Selfwinding

Even though it would be impossible to hide all the buzz, the discussions and the emotions that surrounded the launch of this watch – certainly the most commented watch ever – it won’t be the topic today. We could argue with its detractors… We could, but we won’t. Today we are going to be fair, objective and realistic. Because today, over a year after its launch, now that the dust has settled, we’re going to take a second, in-depth look at the Code 11.59 By Audemars Piguet – with the blue dial/white gold Selfwinding Chronograph model. Because, objectively, this watch has a lot to offer.
Thirteen new references, six news models, three brand new calibres, including the much-awaited in-house integrated chronograph… The launch of this brand new collection at the SIHH 2019 was a major step in the history of Audemars Piguet, a new beginning of sorts, a disruptive choice that had nothing to do with yet another octagonal watch inspired by or derived from the Royal Oak. The basic concept with Code 11.59 By Audemars Piguet was to create a new pillar in the collection next to the Royal Oak, Royal Oak Offshore, Royal Oak Concept and Millenary. But one that no one really expected. In fact, we’d known for years that Audemars Piguet was preparing a new collection and that in itself generated a great deal of anticipation around this new product.
The brand was founded in 1875 by Jules Louis Audemars and Edward Auguste Piguet in the Vallée de Joux, Switzerland. The following 100 years saw some of the most respectable and desirable Haute Horlogerie creations emerge from a manufacture capable of producing some of the most complex and distinguished watches. The liberation of mentalities that came with the late 1960s and early 1970s had an effect on the brand and in 1972, the Royal Oak was created: a watch that would change the face of this watchmaking company forever. While not an immediate success, this watch slowly became a hit, a cult object and the brand’s main strongpoint… and coincidentally its main weakness.
In the past decade, Audemars Piguet focused its production almost entirely on watches based on Genta’s octagonal design – whether RO, ROO or ROC watches – which represented the vast majority of the watches sold. The classic, round and elegant watch (Jules Audemars collection) had fallen out of favour and the same went for the small, elegant and rectangular Edouard Piguet line. The Millenary is now a watch mostly aimed at a feminine audience. The Royal Oak (and its multiple iterations) made the brand very successful in the past decades; however, this almost mono-product strategy was not devoid of risk. The brand knew it and reacted by introducing Code 11.59 By Audemars Piguet – all of this is explained in the words of CEO François-Henry Bennahmias in our in-depth video, here. But trying to find your place next to a watch as strong and as iconic as the Royal Oak is no easy task.
Today, Audemars Piguet has a bold and modern approach to Haute Horlogerie and this shows in this Code 11:59. The basic concept was to bring back the classic round watch in AP’s collection, yet to have a contemporary, younger approach for a less traditional clientele. The small, conservative dress watch doesn’t really work for the brand, and Code 11.59 represents a new vision of a modern classic. However, there’s more to this watch than just a round case… And we’re going to take a closer look in this review.
Audemars Piguet is a brand with a strong (to say the least) identity, forged largely on the shape of a particular case. However, reducing the brand to just that would be an insult to the exceptionally desirable watches that brand has created, including many grande complications, perpetual calendars, chronographs – some of which were revived in the newly introduced [Re]master collection.
The brand’s newest collection couldn’t just be a shape. It had to be a sum of details, savoir-faire and a demonstration of what AP can do in terms of dial making, watch design and, of course, movement making. Once you handle an example of Code 11.59 By Audemars Piguet you understand that it has to be explored, deciphered, observed. This watch is round… but not only. This watch is classic… only from a far distance. This watch is a chronograph… yes, but its movement is state-of-the-art. This watch is less of a statement piece… that is for sure.
A watch is first and foremost a three-dimensional object made to be worn, not an object to appear in a magazine or on a billboard. It is a lively object, with proportions, angles, curves, reflections, which change depending on the light conditions, which need to be seen in action. And this is where Code 11.59 By Audemars Piguet becomes something unique. Forget about the early images and hands-on; this watch, its case, its crystal and its shape is impressively detailed and deserves to be touched and tested.
Code 11.59 is a bit like (a handsome) Harvey Two-Face. Depending on the angle, the watch reveals two different personalities. From the top, the case is round, with a wide dial opening and almost no bezel. Its lugs also appear pretty simple. Stopping the examination of this case here would be (extremely) reductive. This watch needs to be seen from an angle – which is actually the natural view you’ll have of this watch when worn on the wrist. And then, you’ll discover sides that are highly detailed, complex and even intriguing.

To make a connection with the Royal Oak, the central container of Code 11.59, the part that sits in between the bezel and the caseback, which holds the movement, is octagonally shaped – a discreet reference to what has made the brand so iconic in the past 48 years. This central container is finely brushed and polished, with sharp facets and neat separations between the different finishes. Something that gives this watch its DNA, its identity, but in a discreet, elegant manner.
The same dual nature can be applied to the lugs. From the top, they appear simple. However, these lugs, an integral part of an element that also incorporates the bezel, are hollowed, finished with a brushed surface and complex polished bevels. Funny detail is that the screw heads are hexagonal, simply for visual pleasure, which is again another nod to the hexagonal screws on the Royal Oak. Looking at these details offers a truly different perception of the case.
Regarding specifications, the watch is contemporary sized, with a 41mm diameter and a relatively restrained height (at least for an automatic chronograph) of 12.6mm. The case sits well on the wrist, with some presence but also great comfort due to the positioning of the strap, allowing the whole watch to ‘hug’ the wrist. It is available exclusively in 18k gold – white or pink. Some variations, in two-tone or other materials, will certainly be introduced later. Overall, the execution of the case is impressive, detailed and on par with what you’d expect from Audemars Piguet. The decoration of the surfaces is extremely precise and neat, contributing to the overall luxurious (but not ostentatious) feeling.

, June 25, 2024. Category: Audemars Piguet Watches. Tagged: .

Audemars Piguet Royal Oak Mini Quartz Frosted

Today, Audemars Piguet launches the new 23mm “Mini Oak” collection. Self-referential in its re-interpretation of the 20mm Mini Royal Oak from 1997, but brand new in its 2024 packaging. It comes in three iterations: yellow, pink, and white, all with the Frosted Gold finish. Inspired by an ancient Florentine jewelry technique, the frosted gold finish was previously implemented by jewelry designer Carolina Bucci and adapted by Audemars Piguet in 2016 to adorn her collaboration with Audemars Piguet Royal Oak Mini Quartz Frosted.
The new Audemars Piguet Royal Oak Mini Quartz Frosted models pack a lot of design into the small 23mm sizing. The diamond-dust effect of the frosted gold contrasts with the polished bevels that outline the octagonal bezel and the individual links of the tapering bracelet. There is a satin finish on the case and bracelet flanks, adding even more texture to this tiny piece. The solid caseback combines sandblasting, satin brushing, and polishing to echo the case design. The watches feature a tone-on-tone Petite Tapisserie dial with lume-coated gold hour markers that match the color of the case. The hands are also slightly thicker, reminiscent of AP’s Offshore diver watches, presumably for legibility and balance. The Audemars Piguet signature at 12 o’clock is printed in black on a cartouche, while the date indication and seconds function have been omitted, again likely to enhance both legibility and to keep the tiny dial as clean as possible.
The trio of Royal Oak Mini watches are powered by Calibre 2730, a quartz movement with a battery life of over seven years. In addition, the Calibre 2730 is equipped with a “switch”: by simply pulling on the crown, the wearer can temporarily deactivate the battery. The Mini is water resistant up to 50 meters.

In theory, “shrinking” down a Audemars Piguet Royal Oak Mini Quartz Frosted might not seem so revelatory, but the Mini is not shrunken down Jumbo, nor is it a rehashing of its 20-29mm 20th-century predecessors. The smaller specs are a direct response to current consumer demand, and the design has been updated to work in a modern context. AP has taken elements of one their most successful modern “women’s” releases (Carolina Bucci’s 37mm Royal Oak Frosted Gold Selfwinding LE) and implemented the same frosted gold finishing, which is achieved through tiny indentations made on the gold surface using a diamond-tipped tool, creating a sparkly effect similar to that of precious stones. Furthermore, there is nary a gemstone in sight. These are thoroughly modern in their execution.
Small watches are trending. This statement shouldn’t come as a surprise to anybody in the watch enthusiast space. And, evidently, the brands are listening to what the consumers are asking for. Brynn Wallner, founder of Dimepiece, a platform dedicated to all things women and watches, contributed significantly to the small watch revolution. Wallner should be credited for making giant strides in the teeny tiny watch revival. Her approach was playful, and her TTRO (Teeny Tiny Royal Oak) acronym has stuck, but she was also extremely astute in realizing that there was a gap in the watch market for a size that younger, more fashion-forward types were eager to wear.

If we ask the question: who is this watch for? It becomes a pointless push and pull between an extremely antiquated gender binary mindset and today’s fluid fashion vernacular. Frankly, anybody should wear what they damn well please, and one certainly shouldn’t be chastised for promoting such a sentiment. Despite the comments section fatigue surrounding the “all watches should be unisex argument,” jewelry and adornment are deeply reflective of wider cultural mores. It is the 2024 reality, and the question of size and fluidity exists on a much larger scale in the fashion industry; we are simply seeing a trickle-down effect. And to be blunt, this is exactly what we asked for. And so, the conversation remains relevant.
Perhaps if you peel away the layer of gender, the real issue is the homogeneity in watch design. Too many brands look the same. Are we then surprised that pop stars and actors turn to smaller “ladies'” design-driven watches to stand out? And there’s an ease to throwing on a small watch. Spiritually, it’s much closer to jewelry. The point isn’t to focus on the inside of the case here but to embrace a more frivolous and decorative side to watch-wearing. Ultimately, this watch (and any watch, for that matter) is an accessory. Which is perfectly ok to admit. You can love and respect heritage and technical intricacies, and you can also appreciate small quartz-powered design watches. We aren’t picking sides.
Audemars Piguet Royal Oak Mini Quartz Frosted acolytes will no doubt embrace the introduction of a mini size. The Royal Oak is an enduring symbol of Genta design, but beyond that, it’s a widely recognized design among those who are completely outside of the watch enthusiast community. I have friends who are far removed from the watch space and send me pictures of potential purchases they are considering. I would say about 75% of those pictures include a small-sized vintage Royal Oak. The mini is not just a fun release, it’s also a smart business decision. I say keep the small watch fire burning.

, June 11, 2024. Category: Audemars Piguet Watches. Tagged: .

Audemars Piguet Royal Oak 37 Double Balance Wheel Openworked

Openworked or skeletonised watches are treats for the more mechanical-minded admirers of watchmaking, and the more complex the movement, the better. In 2016, Audemars Piguet increased the viewing pleasure two-fold when it unveiled its Audemars Piguet Royal Oak 37 Double Balance Wheel Openworked ref. 15407. As its name indicates, the movement was equipped with two balance wheels, one exposed on the dial of the 41mm watch. The latest duet to join the collection are two models with 37mm diameters in white or pink gold powered by the in-house calibre 3132. However, the novelty here is the tone-on-tone palette that matches the colour of the case material with the movement.
The “two is better than one” premise behind the Audemars Piguet Royal Oak 37 Double Balance Wheel Openworked , explained in this video, features two balance wheels to increase chronometric performance and stability. However, to access and regulate each balance spring individually, AP’s watchmakers placed the two balance wheels and two hairsprings on a single axis but separated them, with one visible on the dial and the second on the reverse side.
While the 41mm version is more prevalent, the 37mm version of the Audemars Piguet Royal Oak 37 Double Balance Wheel Openworked is not new. It appeared in 2018 in a gorgeous, frosted gold case. Today, AP presents two 37mm editions: one in white gold with a rhodium-toned movement and the other in pink gold with gold-toned finishes. The familiar geometry of the Royal Oak is highlighted with satin-brushed and polished finishings.
Openworked movements, which remove as much material as possible from the mainplate and bridges to let the light through and reveal the movement, have existed at AP since the 1930s. In tune with the times, AP now uses CNC machines to cut the bridges into the desired shape and finishes them by hand using more traditional techniques.
The labyrinthine network of bridges reveals the intricacies of self-winding and patented calibre 3132. One of the balance wheels twirls between 7 and 8 o’clock on the dial, and the other is visible on the caseback. Other components, like the gear train and the mainspring, are clearly visible on the dial. The balance wheels beat at 3Hz, and the gold openworked delivers energy to the rotor for an autonomy of 45 hours.
The rhodium-toned bridges and movement of the white gold version are punctuated by touches of colour provided by the rubies and the light blue inner bezel with the applied and luminescent white gold hour markers framing the dial.

With its pink gold-toned bridges and movement and vivid purple flange, the pink gold model has a more opulent personality. For contrast, the hands and indices are crafted in white gold and treated with a streak of luminescence. Both models come with integrated gold bracelets, an additional light blue alligator strap for the white gold model, and a purple alligator strap for the pink gold with gold AP folding clasps.

, June 5, 2024. Category: Audemars Piguet Watches. Tagged: .

Audemars Piguet’s Royal Oak Self-Winding Flying Tourbillon Openworked

The first time I saw Audemars Piguet’s new Royal Oak Selfwinding Flying Tourbillon in Sand Gold, I thought I was looking at stainless steel. AP had just announced the watch, a mix of materials to create a new gold alloy that’s a softer hue between pink and white. But in the bright blue lights of a convention hall, the watch looked completely white. As it made its way around the circle of press at the event, only when I got it up close, under a bit of shadow, did the rosy tones start to come out of the case. For “just a new material,” it was pretty impressive. But I figured that it was a one-time experience, like learning how a magic trick was done.
The second time I saw Audemars Piguet’s new Royal Oak Selfwinding Flying Tourbillon in Sand Gold, I thought I was looking at stainless steel. I was at another press preview, this time in New York when I saw my friend Perri Dash working on a wrist roll in the shade. “It’s cool that they brought out the stainless steel version,” I thought to myself. Then I got closer. You know what they say, “Fool me once…”

Any other batch of releases and the new 26735SG (for “Sand Gold”) would have easily been the watch that grabbed the most attention. It certainly caught my eye, but as someone who loves the Royal Oak, I’m never quite sure how the audience will react. This time, the watch was the “With Special Guest” to John Mayer’s top billing with his show-stopping Royal Oak Perpetual Calendar, so I expected it to get overshadowed. Then there’s the fact that it’s easy to dismiss the watch – like I said before – as “just a new material.” That’s why I was, frankly, pleasantly surprised by the fact that the few photos I posted of the watch on Instagram seemed to really resonate.
Detractors aren’t completely wrong. The 26735ST (“ST” for steel) was the first openworked Royal Oak Flying Tourbillon, released back in 2022, so the movement here isn’t new. If that’s all that gets you excited, you might be bored, but from my standpoint, the caliber 2972 is nothing ever to be disappointed in. It has a beautifully semi-symmetrical architecture that’s clean, clear, and intentional in a way that tells you the caliber was designed to be skeletonized from the start. With all that’s going on in the movement, the flying tourbillon is still the center point, standing proud at 6:00. And while skeletonized watches are never the most legible, the geometric pattern means you can more easily tell the hands and movement apart. To me, all that bumped the 2972 quickly to the top of the class, setting the standard for openworked (or skeletonized) watches back in 2022.
So sure, the most important thing to note with the new ref. 26735SG is the new sand gold material, but it’s not all just about color. When I wrote about the watch a few weeks ago, I missed a brief mention in the press release that AP’s new sand gold should be more color-fast and durable over time. While not many people (myself included) have to worry about the durability of rose gold, it’s particularly finicky and prone to fading when exposed to salt water or chlorine. Very few brands have solved that issue, Rolex and Omega being two of the notable exceptions.

And while it isn’t all about color, it certainly is a big selling point. Almost all gold used in watchmaking is 18k or 14k alloys, made harder and more durable by mixing other materials with pure gold. Choosing what materials you use can lend colorfastness, hardness, and shift color. While these mixes are now closely studied, tested, and checked for impurities that might impact the final product, back before the early to mid-1900s, this kind of gold mixing was wild and free. It’s not uncommon to see four-color gold cases (bonus point who can name the fourth color besides yellow, white, and rose), and often, if you see white gold cases (on Cartier, for instance) made before the 1950s, it’s actually rhodium-plated yellow gold.
These proprietary color mixes are part of why it’s so fun to debate things like who has the best rose gold on the market (ahem AP ahem) or talk about why A. Lange & Söhne’s Honey Gold case is so special. Speaking of Honey Gold, it’s a great jumping-off point for the new Sand Gold. While Lange’s mix is a pinkish hue trending toward a soft yellow, Sand Gold is even softer. The beige tone definitely trends toward white gold, thanks to the balance of 20 percent copper and five percent palladium used to strengthen the 18k gold case. I called it “very Loro Piana,” a reference on my mind as I walked past a very beige display at their boutique in Milan just before seeing the new watch. But it’s as “quiet luxury” as a loud watch like a gold Royal Oak can get.

This continues my perception of Audemars Piguet’s materials science dominance. Sure, other brands were often first. IWC, for instance, released the first ceramic-cased watch with the Da Vinci Perpetual Calendar in 1986 and currently makes some of the most budget-friendly ceramic watches. But AP has made ceramic and other materials like frosted gold such an inextricable part of their brand identity that people clamor for their ceramic watches in a way you don’t see for anyone else. When AP pulled out of Only Watch last year, their proposed watch was basically the same Royal Oak Flying Tourbillon but in ceramic with blued titanium bridges. I heard from more than one AP client who tried incredibly hard to buy it, saying to AP, “Name your price.” But their success isn’t just with ceramic. When AP was testing its Concept Supersonnerie RD#1, the brand used the worst material imaginable, the incredibly dense and terrible-sounding platinum. It takes a lot to bend the material to your will that way and yet it’s still one of the best-sounding repeaters I’ve heard.
In this case, we must credit AP’s partner, PX Précinox La Chaux-de-Fonds, which developed the gold alloy. AP has no proprietary rights to the gold, but they did create the name for this product. As for using it this well, well that’s all AP.

The use of Sand Gold has even improved the great caliber 2972. The hands and markers (in white gold) have even more contrast against the movement, with the bridges treated with a sand-gold hue to match the case while standing out from the gears and barrels, which are rhodium-toned. Oh, and maybe I’m the only one who found this funny, but the rotor is technically made from 18k pink gold, though that’s been rhodium-toned as well, making it essentially white gold.
The most important thing, however, is how AP has pulled off the magic trick that has fooled me one too many times. The best way to illustrate it is in the pictures above, and the examples below.

I try incredibly hard to have consistent lighting and color across all my images. I spend hours on it in post-production, in addition to using a lighting set-up that I color-correct before I even take my first image. Any reflective material plays off its environment; that’s how the physics of light works. For the physics or photography nerds out there, you’ll know that in polished metal, the angle of incidence (light coming in) equals the angle of reflection (light coming out), and whatever else is in the environment impacts the color (whatever is at a 90-degree angle from the polished metal will cast a color on it). A color cast can still be prominent even with brushed metal, like many facets on the Royal Oak. But I’ve never experienced a color shift when shooting a watch as much as I have with Sand Gold. Placed on a piece of brown leather, the watch seemed to play off the environment’s more yellow and red hues, landing on something close to AP’s current rose gold mix. But look what happened when I took it outside on a cold day with direct and cool light. While hard light is terrible for taking photos of watches – creating contrast and weird shadows – you can see why I continue to be fooled by the new Flying Tourbillon. In fact, when I asked to grab the watch and take these pictures, someone else absent-mindedly picked up a nearby white gold 16204 (Jumbo openworked) before realizing they weren’t holding a tourbillon in their hand. It was incredibly validating – or at least comforting – knowing I wasn’t losing my mind.
What you’ll see most of the time is something in between, a gorgeous Royal Oak as you see below. At 41mm by 10.4mm thick, it’s not the quintessential Royal Oak size (the 39mm x 8.1mm Jumbo by which all other Royal Oaks are measured), but it’s not far off either. On my 7.25″ wrist, it arguably is the more “correct” size for my frame despite my (often obnoxious) obsession with the Jumbo. If this is the watch I had to wear, I wouldn’t complain about it in fit or finish. But at a rumored $270,000+ and estimated less than 100 pieces being made one year, I won’t hold my breath at ever seeing one in the wild for a long time.

, April 7, 2024. Category: Audemars Piguet Watches. Tagged: .

Audemars Piguet Royal Oak Perpetual Calendar 41

If you want to play the hits like AP, sometimes you have to consider a special remix, and the band from Le Brassus has just announced a special expression of the concept-only RD#2. This new model, which builds upon the success of a recent sibling sets the town with more titanium, less platinum, a new dial, and limited production. I’m in love.
Allow me to elaborate. The ultra-thin 41mm RD#2 was launched in platinum as a concept in 2018 (that watch can be seen below, it is supremely rare, equally cool, and very heavy on wrist). In 2019, AP announced the AP Royal Oak Selfwinding Perpetual Calendar Ultra-Thin RD#2 reference 26586IP.OO.1240IP.01, which featured a new non-tap dial design, and a blend of materials, in which much of the watch was titanium, save for the bezel and intermediate links in the bracelet – those are platinum and production was very limited but not part of a specific numbered edition. With this latest release, the world gets a second “production” take on the RD#2, this time it’s limited to 200 units.

If you can imagine these three watches in a sort of Animorphs-esque transformation. The AP Royal Oak Selfwinding Perpetual Calendar concept RD#2 is platinum, the next RD#2 26586IP is platinum and titanium, and now the transformation has hit the next stage, full titanium. Measuring 41mm wide and just 6.2mm thick, the new 26586TI weighs just 75 grams, with the only non-titanium element of note being the screws for the bezel (which are made of white gold).
Aside from shedding a few grams of precious metal, the 26586TI sticks largely to the formula but adds in a new blue-to-black dial with black subdials, a red date accent, and the same blue aventurine moon phase. While I wasn’t wild about the look of the smoky blue dial in the press images, it strikes a lovely balance in person that sees a wide variety of saturation in the blue depending on available light but no loss of contrast for the subdials.

Inside, we find the same record-setting ultra-thin movement as that found in the previous examples mentioned above, the AP Royal Oak Selfwinding Perpetual Calendar 5133, which is a full perpetual calendar automatic movement with moon phase and day/night indication that is only 2.9mm thick. Pricing? Well, at a cool CHF 137,000, the price is neither lightweight nor thin.
I mean, I said it up top. I’m in love. Just as I was with the two preceding versions. High-end watchmaking that is light and wearable despite housing one of my all-time favorite complications, you couldn’t have slapped the smile off of my face when I tried on both the RD#2 and the new 26586TI in the span of just two minutes. The smile faded when I had to give it back, but I digress.

As a further expression of the RD#2, I think that the 26586TI speaks directly to the merits of the RD program and its ability to produce a Royal Oak that blends tradition with modern cutting-edge production. The watch looks incredible, feels amazing, light, and very special on wrist. And to my eyes represents a halo for the entire scope of the modern AP Royal Oak Selfwinding Perpetual Calendar .
If the pricing even matters – and for the target audience with this watch I’m not convinced it does– this titanium creation does come in a hair less dear than the proceeding titanium and platinum RD#2 26586IP, which launched at CHF 140,000. To my eyes, it’s a great remix of the original and a direct, distinct, and appealing evolution of the 2019 ref 26586IP.

, March 14, 2024. Category: Audemars Piguet Watches. Tagged: .

Audemars Piguet’s New Watches Of 2024

It’s that time of year. We’re all eagerly awaiting (or, in some instances, bracing for) the deluge of new releases at Watches & Wonders. But things don’t stop for the brands not participating in the show. For instance, Audemars Piguet took to Milan, Italy, this week to celebrate the opening of the brand’s new AP House Milan, located in the famed former Garage Traversi. It was also the perfect moment for the brand to introduce the first of its semi-annual major releases.
Yes, the John Mayer Royal Oak Perpetual Calendar got top billing at the announcement, but there was a lot of ground to cover. At the press preview, watches were passed around at such speed that you couldn’t do much more than get a photo or two, examine the watch, and move on to the next release passed your way a minute later. In several cases, there were innovations to unpack. I hope to get a chance to spend more time with a few of these. But instead of inundating you with multiple stories, I’ll do my best, to sum up (nearly) every release. But before we start, here’s a primer:
First, how often do you see a new suffix at the end of a reference for a new material? It was cool to type “SG” for Sand Gold for the first time. And if not for John Mayer QP, this would have been the headliner. But what is it? As representatives for the brand explained, they’re always experimenting with new materials (and studying old materials from the 1800s to see the combination of elements used to get colors like “green gold”). Pure gold is almost always combined with other materials to create stronger alloys, and the materials you use can often change the color. Pink gold has slowly taken a prominent place in their model lineup since its introduction in the mid-1980s, but this is not pink. By removing silver from the mix and replacing it with palladium, they achieved a very beige 18k gold 41mm by 10.6mm case. Then they applied that same sand gold finishing to the bridges of the caliber 2972, released in 2022 for the Royal Oak’s 50th anniversary.
Without overstating it, the RD#3 in 37mm is one of the most impressive things Audemars Piguet has done in a long time. It took intense effort to create such an elegant self-winding movement with a tourbillon and place it in the iconic 39mm by 8.1mm “Jumbo” case. Then they went and shaved an extra 2mm off the width. Impressive. This new model has a smoked blue Petite Tapisserie bezel and 12 baguette-cut diamond hour markers. The white gold case (a new material perfect for gem setting) is still 8.1mm thick and has 50m of water resistance, and the bezel is set with 32 baguette-cut diamonds. This complements the 37mm RD#3 with the purple dial, but I would have loved to see an option without the diamond bezel. Diamond hour markers without diamonds on the bezel are a great low-key flex.
Here’s a great two-for-one (though don’t try to get that deal at the boutique). The brand introduced two new yellow gold models, which in some ways is par for the course for Audemars Piguet. Many other brands are still slow to get yellow gold back into their lineups after rose/pink gold took over in the early 2000s, but not AP. AP has a good spread of the material in a bunch of colors and they certainly do interesting things with texture as well. The yellow frosted gold on the 37mm Selfwinding Royal Oak is a hand-hammered texture we’ve seen used back all the way to the first Carolina Bucci edition. The 41mm RO Chronograph is a bit more straightforward, but just like the 37mm model, it has a hand-sprayed dark burst finish on the gold sunburst dial.
I’ve never been the biggest fan of the Royal Oak Offshore, probably because I didn’t come up in the era where they were “hot.” The Offshore Diver in “khaki” was one of the few exceptions. Funny enough, they brought this new 43mm Offshore out on a tray to tease me, and maybe that did a little extra to convince me, but this new Offshore with a rubber bezel is kind of cool. The 43mm by 14.4mm case is a bit big, and since it’s not a diver, the watch only has 100m of water resistance. But making it a non-diver, non-chronograph ROO makes it kind of uncommon. The smoked blue dial has the new generation Méga Tapisserie pattern, rhodium-toned gold applied hour-markers, Royal Oak hands with luminescent material, and a blue inner bezel (which does not rotate since, again, it’s not the diver). The exterior rubber blue bezel is reminiscent of the Royal Oak Offshore Rubberclad ref. 25940 launched in 2002, the first watch to use rubber anywhere but the bracelet, and it’s fun to see it come back.
Can you believe it? Five years already. And while the collection might have been slightly (okay, more than slightly) maligned at launch, it seems to be finally hitting its stride. With the release of smaller 38mm Codes last year, plus better dial textures and indices, AP seemed to crack the – you know what, I’m not going to say it. This year, there are a few changes to the collection. First, you’ll no longer see Code 11.59 in white gold for chronographs and time-only pieces. Complications are still theoretically fair game, but we were told that steel and white gold seemed too close to each other and tended to cannibalize their own market. So expect to see more pink gold – the only gold variant the brand is doing on the Code for now.
I nearly had a heart attack during my first hands-on session. The presenter was handing around watches, and while I tried to snap photos, I heard the words: “The steel Jumbo is discontinued.” I immediately started texting coworkers, preparing for a breaking news story. Well, thirty minutes later, my dream of owning a 16202 was (somewhat) revived when I found out that it wasn’t the 16202ST that got the boot, but the 16204ST – the “Jumbo” Openworked. Instead, we have the 16204BC (white gold) to match last year’s 16204BA (and yellow gold). A reminder: “Jumbo” is 39mm by 8.1mm, not the (paradoxically) larger 41mm. It’s all about historical models for the nickname, so 39mm is Jumbo – got it?
One of the most interesting things I saw in Milan was a prototype of the AP Royal Oak Offshore Chronograph Tourbillon in a camouflage ceramic case. If you didn’t already think that AP was leading the cutting edge of ceramic technology in watchmaking, I don’t think you could argue otherwise now. Technologically, it’s advanced. Aesthetically, it’s wild. Sure, I wear camo occasionally. I grew up in the Midwest and spent much time in rural areas where camo is practical for hunting. But the camo I think of is not this kind of camo. This is pure, intense, loud streetwear camo. And I love it.
I was standing there with the inimitable fellow workwear/military clothing lover Kristian Haagen when we were shown this watch, and I think you could have seen both our eyes light up. I immediately had a ton of questions. “Can you do other colors?” They pulled out a tray, including a UV reactive puck, where certain parts of the pattern glowed. “Other patterns? Could you do a duck camo on one and a tiger cam on another?” Sure, they told me, no problem. The implications are also wild when you realize that if AP is the only one doing this, it essentially could guarantee, at least for a time, that these printed watches are never replicated or faked on the secondary market. Finally, the brand teased in the press release that the technique can be done in multi-color gold, which will be shown in prototype form in the coming months. Gold camo? Bring it on.

, March 11, 2024. Category: Audemars Piguet Watches. Tagged: .

Audemars Piguet Can Do Camouflage Ceramic Now – And I Hate How Much I Love It

One of the most interesting things I saw in Milan was a prototype of the AP Royal Oak Offshore Chronograph Tourbillon in a camouflage ceramic case. If you didn’t already think that AP was leading the cutting edge of ceramic technology in watchmaking, I don’t think you could argue otherwise now. Technologically, it’s advanced. Aesthetically, it’s wild. Sure, I wear camo occasionally. I grew up in the Midwest and spent much time in rural areas where camo is practical for hunting. But the camo I think of is not this kind of camo. This is pure, intense, loud streetwear camo. And I love it.
By my understanding, Audemars Piguet has figured out how to do basically any camouflage design in ceramic in a new Spark Plasma Sintering (SPS) technology process. In the process, the team carefully placed different colored ceramic powders in a circular graphite mold, which is sintered using a powerful electric current conducted through the graphite. The temperature rises rapidly while pressure is placed on either side of the mold, creating a ceramic disc. While the patterns are slightly different each time, they look similar at a glance enough to be serially produced. But AP can also easily change the pattern or design for endless potential custom unique pieces and patterns. They told me the brand carefully chose designs and colors in testing so the pattern showed up best. Sometimes, an idea works great on the created ceramic puck, but once you carve out the case shape, it’s hard to see. The discs are machined into the shape, pre-polished, and pre-satin-brushed before being hand-finished to get the satin finishing and polished chamfers.
I was standing there with the inimitable fellow workwear/military clothing lover Kristian Haagen when we were shown this watch, and I think you could have seen both our eyes light up. I immediately had a ton of questions. “Can you do other colors?” They pulled out a tray, including a UV reactive puck, where certain parts of the pattern glowed. “Other patterns? Could you do a duck camo on one and a tiger cam on another?” Sure, they told me, no problem. The implications are also wild when you realize that if AP is the only one doing this, it essentially could guarantee, at least for a time, that these printed watches are never replicated or faked on the secondary market. Finally, the brand teased in the press release that the technique can be done in multi-color gold, which will be shown in prototype form in the coming months. Gold camo? Bring it on https://www.perfectwrist.co.

, March 8, 2024. Category: Audemars Piguet Watches. Tagged: .

Audemars Piguet Royal Oak Selfwinding 41

It wouldn’t be SIHH without some updates to the Audemars Piguet Royal Oak collection. This year we’ve got a new base model Royal Oak in the form of the ref. 15500, replacing the ref. 15400 that came out back in 2012. The ref. 15500 is still a 41mm, automatic Royal Oak with classic looks, but the proportions and detailing have been updated with increased legibility and cleanliness in mind. Specifically, the date window is now further from the center, the applied luminous indexes are a bit wider, and the minute track is printed on the very edge of the dial outside the “Grande Tapisserie” pattern. There are five references in total, three in stainless steel (with blue, grey, and black dial options) and two in rose gold (one on a bracelet and one on a strap, both with black dials).

One of the most important updates though is the use of a new movement, the caliber Audemars Piguet Royal Oak 4302. This in-house movement was just introduced yesterday in the three-hand CODE 11.59 model (see, we told you AP would likely roll these movements out to other watches). This is a much more modern movement than the classic caliber 3120 that powered the ref. 15400 – it beats at 4 Hz instead of 3 Hz, it has 70 hours of power reserve instead of a 60, and it was designed and made totally in-house. Now, this has the added effect of making the watch thicker too, with the ref. 15500 measuring in at 10.4mm top to bottom instead of 9.8mm. Whether or not this makes any difference is yet to be seen, but we’ll be looking for it when we see these in the metal soon.
For many die-hard collectors, the “Jumbo” is the “base” Royal Oak, but that’s just not the case. The ref. 15202 is tough to come by and represents a very small percentage of the overall Royal Oak production. It’s this watch, the ref. 15500, that forms the true foundation of the collection, and the technical and aesthetic tweaks offer both something new for customers right now and some insight into where AP sees the Royal Oak going overall.

One of the things I find interesting about the Audemars Piguet Royal Oak ref. 15500 is just how different is actually is from its predecessor. It would be easy to shrug this release off as an incremental update – that was definitely my first reaction. But just look at how different the 15500 appears from the 15400 when you put the two side by side (the 15500 is on the left, the 15400 on the right): And that doesn’t even take the movement swap into account. I think that while it’s not a particularly splashy release, we’re going to look back at this watch as one of the more important introductions of the fair in terms of impact on consumers.

, January 8, 2024. Category: Audemars Piguet Watches. Tagged: .

Audemars Piguet Royal Oak Offshore Flying Tourbillon Chronograph Ceramic

The Beast, the Audemars Piguet Royal Oak Offshore Flying Tourbillon Chronograph Ceramic, officially turns 30 this year, and as if the relatives were scarce to fill the room for celebration, Audemars Piguet brings another specimen into the family, a cool-coloured Selfwinding Flying Tourbillon Chronograph presented in a black ceramic case with green anodized elements. Jokes aside, this new watch is a fine addition to the new generation of the Royal Oak Offshore collection, much like the original version launched in 2021, but with an even more futuristic look.

The new AP ROO Audemars Piguet Royal Oak Offshore Flying Tourbillon Chronograph Ceramic version is everything the inaugural reference was. Still, the choice of material for the 43mm case and green hues to colour elements on the dial side make all the difference. This year, for the first time in the 43mm ROO collection, the watch features a full ceramic case with a ceramic caseback. Multiple finishing techniques are used to bring out the best of the case design, with updated, enlarged polished bevels on the edges. AP mastered ceramic manufacturing and tooling very well, not just for the cases but for the full-ceramic bracelets too. Only this edition is offered on a green rubber strap, matching several dial elements. The Royal Oak Offshore Tourbillon Chronograph design reminds us of supercars and fighter planes. Under the slightly curved sapphire crystal, the dial has an openworked architecture that is futuristic and aggressive. Note the wide bevelled bridges to the flying tourbillon’s left and right and the movement plate’s vent-like surface beneath. The flying tourbillon at 6 o’clock is the obvious centrepiece and reveals the inner workings of the escapement, while the gear train is the backdrop for the upper part of the dial. The chronograph counters with the black outer ring do not obstruct the view, and the tiny hands to indicate the minutes or the hours are the same red colour as the central chronograph hand, in line with the sports character of the series. The large pink gold hands with a Super-LumiNova strip down the centre indicate the time, and the gold-coloured theme is continued with the Audemars Piguet Royal Oak Offshore Flying Tourbillon Chronograph Ceramic logo, the crown and the balance wheel as if to remind of the luxury status of this exceptional watch. The vivid green colour, responsible for the distinctive look of this new Royal Oak Offshore variant, is applied to the rubber strap, the rubber gasket, and a few dial elements. A green anodized inner bezel works as the minutes track with very legible, black-printed markings and numerals. The black PVD-coated titanium bridges are highlighted with green inserts with an aluminium coating, and all the movement’s colours play to this aesthetic experiment.

The calibre 2967, a seriously reworked version of the in-house flying tourbillon flyback chronograph calibre 2952, which was first launched with the Code 11.59 collection a couple of years back, is what powers this limited edition of the ROO. This automatic movement consists of 526 parts, operates at a 3Hz frequency, and provides 65 hours of power reserve, guaranteed. The New Audemars Piguet Royal Oak Offshore Flying Tourbillon Chronograph Ceramic 26622CE Limited Edition in black ceramic with green hues is limited to 100 pieces. It is offered with an interchangeable green rubber strap, a titanium folding clasp, and an additional black rubber strap.

, October 12, 2023. Category: Audemars Piguet Watches. Tagged: .

audemars piguet royal oak selfwinding diamonds

While the stars of the show for the celebrations of the Royal Oak’s 50th anniversary were, without a doubt, the new Extra-Thin 16202 and the Openworked 16204, Audemars Piguet won’t only be looking at the Jumbo models. In fact, throughout 2022, the entire permanent Royal Oak collection will be updated. Be reassured; we’re talking small touches to make these models slightly more refined or mechanically more modern. The design invented by Genta in 1972 is still alive and well and almost intact. First, concerning the audemars piguet royal oak selfwinding 37mm and audemars piguet royal oak selfwinding diamonds Chronographs 38mm & 41mm, the evolutions will be focusing on details from the case and bracelet and dial design/colours. And, a little spoiler, these evolutions will also concern the Royal Oak Selfwinding 41mm and 34mm in the second half of 2022. But let’s look at this new collection to understand what has changed.
Let’s get straight to the point. We’re not looking at a complete overhaul of the Royal Oak. Don’t expect a complete redesign or entirely new models. The collection that Audemars Piguet releases in the frame of the 50 years of the Royal Oak is about subtle, minimal updates without altering the original concept of the RO collection. It’s still a sports watch with an integrated bracelet; it still features an octagonal bezel with eight screws; it is still a proper luxury watch; and it still features a tapisserie pattern on the dial. And the way the collection is articulated – read Selfwinding time-and-date watches in 34mm, 37mm and 41mm, as well as two Selfwinding Chronographs in 38mm and 41mm – hasn’t been touched either. Those who were expecting the Royal Oak to change will be disappointed. Those, and they are many, who were looking forward to the Royal Oak remaining true to its origins will be pleased.
So, what has changed in 2022? And this goes for all three audemars piguet royal oak selfwinding 37mm and Chronographs 38mm and 41mm we’re looking at today and will be the same for the 34mm and 41mm later this year. As for the case, it’s about the finishing and how the case is shaped. While retaining the same proportions as before, these new Royal Oak references now have enlarged polished bevels adorning the top and the bottom of the case, enhancing the contrast and play of light with the brushed surfaces. Also, the screwed caseback has been slightly more integrated into the case middle to sit more comfortably on the wrist.
Another evolution concerns the transition between case and bracelet and the way the whole tapers to the clasp. Indeed, to accentuate the case’s slenderness and add a bit of refinement, the integrated bracelet’s first four links are now trapezoid in shape and no longer parallel. This more pronounced decrease in thickness brings forward the bracelet’s taper for more visual appeal. Furthermore, the links are thinner throughout the bracelet and therefore lighter, enhancing the comfort on the wrist – this evolution of the design was actually introduced discreetly on Royal Oak models in gold a few years ago but now finds its way into the whole collection, including steel and titanium models.
The second update concerns the dials. audemars piguet royal oak selfwinding adds subtle touches without drastically changing the overall idea of the tapisserie pattern, which has been associated with the Royal Oak since its very creation. The idea with the 2022 update of the Royal Oak Selfwinding models is to bring coherence. Design-wise, the hour markers and hands retain the same aesthetics as before, yet the size has been harmonised across the whole collection, regardless of diameter and material. In the same vein, the proportions of the hour markers of the new self-winding chronographs and self-winding time-and-date timepieces have been standardised according to the different diameters.
Looking at the dial in more detail, there’s a new AUDEMARS PIGUET signature, replacing the applied AP monogram and printed text used in past collections. Now, the brand is using the same embossed signature as used on Code 11.59. Made of thin layers of 24-carat gold, the signature is achieved through a chemical process akin to 3D printing known as galvanic growth. Each letter is connected with links approximately the size of a hair and placed on the dial by hand. Also, all watches now have tone-on-tone date wheels.
Finally, while the tapisserie pattern has been retained and shows the same size as before – and this is specific to the 37mm time-and-date model – the flat external zone on which the minute track was printed has now been removed, and the track is now printed directly on the guilloché dial, just like on Jumbo models. The two 38mm and 41mm audemars piguet royal oak selfwinding chronographs retain a smooth external scale, which is used as a precision seconds track.

, September 12, 2023. Category: Audemars Piguet Watches. Tagged: .
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