CALIBRE 6401 A LEAP IN MODERNITY

Developed entirely in-house over five years, Calibre 6401 marks a new chapter in Audemars Piguet’s chronograph legacy and a significant milestone in the evolution of the Royal Oak Chronograph 38 mm line. It replaces the longstanding Calibre 2385, a movement introduced in 1997 that quickly became a cornerstone of the Manufacture’s offerings for nearly three decades.

Like its predecessor, Calibre 6401 is an integrated column wheel chronograph with a vertical clutch system. Audemars Piguet has patented the clutch mechanism, simplifying its architecture to reduce the number of components and eliminate unnecessary play. The result is a robust, reliable and responsive chronograph, requiring less pressure to activate the push-pieces to offer an enhanced user experience.

Delivering a 55-hour power reserve, the movement also features a simple instant-jump date and a reimagined counter layout designed for improved legibility. Calibre 6401 will also enter the Royal Oak Offshore collection later this year, ensuring continuity and coherence across the brand’s offering.

AESTHETIC REFINEMENT AND FUNCTIONAL ELEGANCE

The introduction of Calibre 6401 brings subtle yet significant aesthetic evolutions to the Royal Oak 38 mm line. Most notably, the sapphire caseback now reveals the intricacies of the movement, inviting a direct connection between the wearer and the heart of the timepiece. Visible from the back of the watch, an openworked monobloc rotor reveals the elegant finishings of the selfwinding movement, including the Côtes de Genève motif and alternating satin brushing and polished chamfers.

The dial layout has also been adjusted for greater symmetry and readability, with the date aperture now more centrally positioned between the 4 o’clock and 5 o’clock hour-markers. In contrast to Calibre 2385, the minute counter now sits at 9 o’clock and the hour counter at 3 o’clock, ensuring better visual balance.

Preserving the proportions of its predecessor, the watch retains its 11 mm thickness, accommodating the new movement without compromising wearability or size. Each of the three new references showcases these refinements through distinct stylistic lenses. The iconic “Bleu Nuit, Nuage 50” Grande Tapisserie dial is paired with a stainless-steel case and bracelet in tribute to the original aesthetic codes of the Royal Oak for timeless sports-chic sophistication. This model retains the same aesthetic as the current version, with the addition of the sapphire caseback and more centred date opening between hour markers.

An 18-carat pink gold version featuring a dark grey dial with beige counters embraces subtle contrasts. The interplay between warm gold and cool grey heightens depth and legibility, with pink gold hands and hour-markers adding a sophisticated and harmonious touch.

Finally, a third reference combines an 18-carat pink gold case with a sand gold-toned dial, beige counters and a diamond-set bezel. The latter offers glamourous refinement to the soft-toned palette, for a luminous expression of elegance and technical mastery.

THE ROYAL OAK CHRONOGRAPH A LEGACY REDEFINED
Since its debut in 1972, the Royal Oak has disrupted the landscape of fine watchmaking. Conceived by Gérald Genta, it introduced the concept of the high-end steel sports watch, transforming it from a utilitarian tool into a symbol of status and style. The Royal Oak Chronograph, introduced on the 25th anniversary of the Royal Oak, added a layer of dynamism and complexity to the collection, expanding its appeal to a new generation of enthusiasts.

Over the decades, the Royal Oak Chronograph has undergone several evolutions. The case was reimagined in 2008 (Ref. 26300) to mirror the three-part construction of the Royal Oak Offshore collection. In 2012, the line was up sized to 41 mm (Ref. 26320), introducing a more classic dial layout and refined proportions. A bold redesign followed five years later (Ref. 26331) featuring enlarged subdials, a repositioned date aperture, and a more expressive visual language.

In 2019, the 38 mm Royal Oak Chronograph (Ref. 26315) marked a return to a size that’s closer “Jumbo” dimensions of the original Royal Oak, offering a more compact and balanced alternative to the larger chronograph models. Its symmetric subdial design echoed the original Ref. 25860, introduced in 1997 in a 39 mm case, while subtle updates to the dial and bracelet ensured modern relevance.

Arriving last year in celebration of Audemars Piguet’s 150th anniversary, the Royal Oak Extra-Thin Selfwinding Flying Tourbillon Chronograph RD#5 in 39 mm (Ref. 26545, Calibre 8100) elevated the chronograph for the modern era. Remarkably thin, its discreet push-pieces – inspired by smartphone haptics – offer a smoother and more intuitive experience for wearers.

From Genta’s original sketch to today’s in-house chronograph, the Royal Oak continues to evolve while staying true to its disruptive roots. Bringing renewed sense of purpose to the Royal Oak Chronograph 38 mm line, the latest calibre stands as a testament to Audemars Piguet’s enduring commitment to watchmaking excellence.

“The arrival of Calibre 6401 embodies our pursuit of mechanical innovation and commitment to crafting movements that are as refined as they are robust.”

Lucas Raggi
Chief Industrial Officer, Audemars Piguet

The post A NEW IN-HOUSE CALIBRE FOR THE ROYAL OAK CHRONOGRAPH 38 MM appeared first on Arab Watch Guide.

CALIBRE 7139 SYNCING WITH THE UNIVERSE
Audemars Piguet’s new openworked perpetual calendar movement leverages cutting-edge technology and timeless craftsmanship to enrich user experience and keep life in harmony with the universe’s cyclic rhythms. The perpetual calendar automatically accounts for the varying length of months and leap years, displaying the date and week with flawless precision. Assuming the watch is kept fully wound, the date will only require manual correction in the year 2100 to align with the Gregorian calendar. This celestial complication has shaped Audemars Piguet’s world for over 150 years, inspiring watchmakers to build on ancestral know-how to create advanced timepieces fit for ever-evolving lifestyles.

Calibre 7139 is equipped with the patented crown correction system launched last year with Calibre 7138. Developed by AP engineers to streamline the case design and simplify corrections, this intuitive all-in-one crown is used for the first time with an openworked mechanism. Adjustments to the calendar functions can be made without tools or risk of damage via the crown, which incorporates four positions (1, 2, 3 and 2’) to manage winding, time-setting and all calendar indications with ease. This innovation is driven by a patented, state-of-the-art lever and wandering wheels mechanism that meshes with the various calendar wheels in positions 2 and 2’.

Furthermore, Calibre 7139 draws on the pioneering innovations of Calibre 5133, released in 2018 with the Royal Oak Selfwinding Perpetual Calendar Ultra-Thin RD#2, which combined all calendar functions in one single layer. The end-of-month cam is similarly integrated with the date wheel, while the month cam is fused with the month wheel. Crown corrections form a second layer, enabling the movement to keep a thin 4.1 mm profile. Taking selfwinding Calibre 7120 as its base, the new movement beats at a frequency of 4 Hz (28,800 vph) and provides a minimum power reserve of 55 hours, offering increased performance and robustness.

“Calibre 7139 embodies Audemars Piguet’s firm belief that tradition and innovation must progress hand in hand. Our R&D and complications teams worked closely with our traditional atelier to give life to a perpetual calendar that simplifies corrections and enhances user experience, all while perpetuating the historical art of openworking. This fine craft gives a fascinating insight into the cutting-edge innovation and ancestral expertise at the heart of the movement. It’s been an incredible journey – full of unexpected challenges and learnings.”

Lucas Raggi
Chief Industrial Officer, Audemars Piguet

A CALIBRE PERPETUATING TIME-HONOURED SKILLS
Calibre 7139 provides a new platform for preserving and elevating traditional techniques, including the intricate art of openworking that takes centre stage on the dial and caseback. The main plate, bridges, date wheel, leap year wheel and barrel have been meticulously shaped using electrical discharge machining (EDM). All but the essentials have been stripped back to let the light shine through and reveal the movement’s inner workings. The bridges are hand-finished with elegant V-angles, accounting for over 30 hours of painstaking work per movement. The various components also display refined Haute Horlogerie decorations, such as satin brushing, circular graining, snailing and chamfering. Balancing function and aesthetic refinement, these finishes create striking contrasts and plays of light. Openworking has been an Audemars Piguet specialty since the 1930s. During the Great Depression, AP watchmakers revived this historical art form to occupy their time and hone their skills. This delicate craftsmanship has endured to this day, with each generation of artisans combining time-honoured techniques with creative expression.

Tradition and innovation also converge at the heart of the watch. Calibre 7139 is equipped with a non-magnetic balance spring, which ensures resistance to temperature variations and shocks, as well as optimal chronometric performance. This hairspring is fitted to the balance wheel by hand, using age-old techniques that require great expertise and patience. At Audemars Piguet, this delicate operation is carried out by two highly skilled artisans with over 20 years of experience. This rare craft is typically reserved for movements produced in very small quantities, making Calibre 7139 one of the few production calibres to preserve this know-how today.

Since the 19th century, women have been the main force behind this meticulous task, due to their smaller hands and dexterity. The first balance spring fitting course was opened to women in Geneva in 1843, allowing them to enter the skilled workforce long before they were formally admitted to watchmaking schools. Known as the queens of watchmaking, they played an important role in shaping the industry.

“Traditional balance spring fitting is all about perfection. There is no margin for error. Each hairspring is unique and requires a series of operations that can take several hours of painstaking work to get the heart of the watch beating.”

Nathalie
Balance-spring fitter, Audemars Piguet

A DIAL BRINGING TOGETHER OPENWORKING, ERGONOMICS AND DESIGN HARMONY
Every detail of Calibre 7139 has been meticulously designed to enhance user experience and legibility, while evoking a sense of symmetry and unity. Its openworked architecture can be admired through the sapphire dial and caseback, which provide views of the movement’s mechanical heart. The calendar indications are rearranged in the European style, with the day at 9 o’clock, the date at noon and the month at 3 o’clock. The week numbers, printed on the inner bezel, now start with the number “1” at 12 o’clock – replacing the previous placement of week “52” in earlier openworked calendar models. In the same logic, “Monday” and “1” are aligned at 12 o’clock in their respective subdial, marking the start of the week and the first day of the month. The dial also features a patented progressive step for the date display at 12 o’clock, operated by a wheel with 31 custom-made teeth of varying sizes adapted to the width of the digits.

To achieve symmetry with the month and leap year at 3 o’clock, a 24-hour indicator has been inserted in the day subdial at 9 o’clock. Additionally, a no-correction zone appears in red between 21h and 3h to underline when the watch should not be set. If the user attempts to adjust the watch during this time, the date may not be corrected. However, there is no risk of damaging the movement in the process. Finally, the keen observer will notice that the full moon in the moon phase subdial at 6 o’clock is now centred on the vertical axis to strengthen the dial’s overall harmony.

A CODE 11.59 BY AUDEMARS PIGUET EMBODYING TIMELESS CRAFTSMANSHIP
Calibre 7139 makes its debut on a 41 mm Code 11.59 by Audemars Piguet, marking a new design and technical milestone for the collection. Its case blends the refinement of 18-carat white gold with the high-tech allure of black ceramic. Placed between a round white gold extra-thin bezel and caseback, the octagonal black ceramic case middle highlights the watch’s multifaceted architecture. All ceramic and gold components have been finished with the Manufacture’s trademark alternation of satin brushing and polished chamfers, creating endless light effects. The finishing on the different components and materials align seamlessly – a meticulous task that can only be performed by highly trained artisans.

The case’s elaborate craftsmanship mirrors the intricacy of the openworked movement it contains, which is showcased through the sapphire dial. A black inner bezel and minute scale open onto the dark and light grey components of Calibre 7139. The dial is complemented with transparent subdials with smoked external zones at 3, 9 and 12 o’clock, revealing the inner beauty and complexity of the movement. At 6 o’clock, the moon phases evolve against a black aventurine backdrop, reminiscent of a starlit sky. Rhodium-toned pink gold hour-markers and 18-carat white gold hands complete the design. The hour and minute hands are coated with luminescent material, while the discreet subdial hands have been developed to maximise legibility, their red tips drawing the eye to the calendar indications.

The openworked architecture of Calibre 7139 can also be admired through the sapphire caseback. The pink gold-toned openworked oscillating weight and the matching barrel and balance wheel bridges elegantly contrast with the movement’s grey palette. The watch is mounted on a timeless black alligator strap with square scales and is finished with an 18-carat white gold, triple-blade folding clasp that complements the timepiece’s two-tone design.

SHINING LIGHT ON THE ROYAL OAK’S MECHANICAL HEART
The new 41 mm Royal Oak model unites titanium and precious Bulk Metallic Glass (BMG) for a unique combination of lightness and resistance. First discovered in the 1960s, BMGs are metallic alloys that, when rapidly cooled, take on properties similar to glass, such as high strength and an amorphous structure. Composed of over 50% palladium, Audemars Piguet’s proprietary BMG is highly resistant to wear and corrosion and has a distinctive reflective sheen. The bezel, caseback and bracelet studs are crafted from this precious material and finished with a mirror polish that brings out its natural brilliance. In contrast, the case, crown and bracelet links are honed from titanium and feature the Manufacture’s signature satin finish. This alternation of polishing and satin brushing creates a rich interplay of light, while highlighting the Royal Oak’s complex architecture.

Calibre 7139 takes centre stage on both sides of the watch. Framed by a black inner bezel and minute scale, the sapphire dial discloses the movement’s openworked bridges and wheels, alternating dark and light grey shades. The smoked subdials offer further glimpses of the movement’s mechanical heart. All are delineated by a fine pink gold-toned thread, the bright colour which is echoed by the pink gold hour-markers and hands, coated with luminescent material. The pink gold accents continue on the caseback side. In addition to exhibiting the movement’s architectural design, the sapphire back highlights the openworked oscillating weight, barrel bridge and balance wheel bridge, all of which display a pink gold hue.

Like its Code 11.59 by Audemars Piguet counterpart, the new Royal Oak brings out the seamless blend of tradition and innovation at the heart of Calibre 7139, promising many surprises in the years to come.

“Uniting the art of openworking with ergonomic design, this new movement offers a contemporary take on a classic complication – reaffirming our commitment to crafting timepieces that resonate with modern lifestyles while honouring our heritage.”

Ilaria Resta
Chief Executive Officer, Audemars Piguet

The post A NEW GENERATION OF OPENWORKED PERPETUAL CALENDARS appeared first on Arab Watch Guide.

INSPIRED BY THE PAST BUILT FOR THE PRESENT

Audemars Piguet remains deeply committed to honouring its watchmaking heritage and long-standing design tradition by freely reinterpreting timepieces that have marked their era and continue to tell the story of horology today.

Blending modern craftsmanship with vintage aesthetics, the Manufacture in Le Brassus unveils the new Neo Frame Jumping Hour, inspired by a 1929 timepiece (pre-model 1271). At the crossroads of architecture, watchmaking and the reinterpretation of an iconic artistic movement, this new line revives the design codes of the 1930s while harnessing the most advanced technologies in the creation of both case components and movement. Hand-finished in accordance with ancestral savoir-faire, this timepiece embodies the alliance of tradition, audacity and innovation that has been at the heart of the brand for over 150 years.

STREAMLINE MODERNE: CURVES AND LINES

Combining elongated lines and curves, the pre-model 1271 draws direct inspiration from the Streamline Moderne movement, also known as Pacquebot or Ocean Liner style – a late branch of Art Deco. Emerging in the United States during the interwar period, this design and architectural movement sought a return to minimalism, taking cues from the aerodynamic forms of trains and ships, symbols of speed and modernity. The result was sleek lines, curved shapes, rounded angles and the use of modern materials, sometimes paired with nautical elements.

The Streamline Moderne style inherited Art Deco’s ambition to reconcile modernity with craftsmanship, while integrating Bauhaus influences: an emphasis on materials, a technological touch and refined minimalism. These elements find a contemporary echo in the new Neo Frame Jumping Hour model.

“Audemars Piguet has always remained rooted in its past while looking toward the future. The Neo Frame Jumping Hour model embodies this philosophy, paying tribute to our rich horological heritage through an emblematic timepiece reinterpreted with cutting-edge techniques and a contemporary approach.”

Ilaria Resta
Chief Executive Officer, Audemars Piguet

A TIMEPIECE SHOWCASING AN ELEGANT TWO-TONE DESIGN
With a case measuring 32.6 mm by 34 mm, this new model adopts the aesthetic codes of pre-model 1271 to offer a contemporary homage to Streamline design. Its rectangular case in 18-carat pink gold is flanked by eight gadroons on each side, extending into elegant lines that taper into pointed lugs, evoking aerodynamic motion. This distinctive CNC-machined motif is echoed on the caseback, crown, and oscillating weight – all in 18-carat pink gold. Exceptional precision was required to align the case back’s lines with those of the lugs, ensuring visual harmony.

The timepiece features a contemporary two-tone design with a black PVD-treated sapphire crystal. Two gold-framed apertures display hour and minute numerals printed in white on a black background. The Audemars Piguet signature appears at 6 o’clock in pink gold tones.

Despite its apparent simplicity, the sapphire dial demanded considerable work and bespoke assembly processes. While the original pre-model 1271 featured metal dials (in various gold tones or platinum), this reinterpretation meets modern standards by replacing the metal dial with a sapphire crystal while ensuring water resistance. Typically, this is achieved by pressing the crystal into a bezel, but the Neo Frame Jumping Hour lacks metal framing at 12 and 6 o’clock, leaving the sapphire exposed. To ensure 20m water resistance, the dial plate is bonded to the sapphire crystal and then screwed into the case – a technique developed specifically for this model.

This new timepiece underwent extensive ergonomic refinement to anchor its historic design in today’s world, and a new crown was specially constructed to enhance comfort during winding while offering a refined look.

The watch is paired with an elegant black calfskin strap featuring a textured motif conceived by Audemars Piguet’s Design team. Seamlessly integrated with the case, the strap meets the sapphire between the lugs, reinforcing the timepiece’s vintage inspiration.

CALIBRE 7122: A FIRST FOR AUDEMARS PIGUET
Merging homage to the past and innovative techniques, this model is powered by the Manufacture’s first selfwinding jumping hour movement. Based on Calibre 7121, which equips the Royal Oak “Jumbo” models, the new Calibre 7122 was developed entirely in-house. It combines an instantaneous jumping hour with trailing minutes, delivering precision, performance, and reliability.

With a robust 52-hour power reserve, Calibre 7122 features a patented shock-absorbing system that mechanically prevents hour jumps in case of impact, making the watch suitable for everyday life. To enhance shock resistance, the hour disc is crafted in titanium, while the minute disc which is displayed progressively through the aperture, is made from a copper alloy.

On the back of the watch, the movement is visible through a sapphire caseback, revealing refined Haute Horlogerie finishes such as Côtes de Genève and satin brushing, along with a dedicated oscillating weight complete with further fluting.

“This new timepiece is a nod to Audemars Piguet’s pioneering role in developing the first jumping hour wristwatches in the 1920s. Back then, the glass was so fragile that it had to be protected by metal. Today, it is in sapphire, which takes centre stage.”

Sebastian Vivas
Director, Museum and Heritage, Audemars Piguet

THE JUMPING HOUR: A HOROLOGICAL TRADITION
The jumping hour revolutionises time display by replacing traditional hands with numerals that jump every 60 minutes. This system first appeared around 1650 in night clocks and was adapted in the 18th century for pocket watches to improve legibility. Initially, the jumping hour was paired with a secondary dial featuring an hour hand. From 1890 onwards, minute indication appeared on a rotating disc viewed through a second aperture.

With the rise of wristwatches during the interwar period, the jumping hour gained popularity for its modern display and practical advantage: the full dial with two apertures helped protect the fragile mineral glass of the timepiece. These wristwatches elegantly combined form and function.

Audemars Piguet played a pioneering role in introducing jumping hour wristwatches. Between 1924 and 1951, the brand sold 347 timepieces with this display complication, including 135 with dual apertures. The first model (No. 27826) featured a square case, a single aperture, and a minute hand, powered by Calibre 10HPVM. In 1924 alone, 14 jumping hour watches were delivered, square or rectangular, using Calibres 10HPVM or 10GHSM – the latter powering most of the 212 watches with hour aperture and minute hand produced until 1951.

With their covered dials, dual-aperture wristwatches offered Audemars Piguet a canvas for aesthetic exploration. Beyond square and rectangular cases, the brand created cushion-shaped models, those with removable or hidden lugs, engraved cases, and even triple-aperture designs.

Pre-model 1271, marketed in 1929 and 1930, was among the first to feature dual apertures. Only 14 pieces were made in four variants: white gold, white and yellow gold, white and green gold and a unique platinum piece. Nearly all were sold before the October 1929 stock market crash, which ended the Roaring Twenties. The platinum model, now housed in the Audemars Piguet Musée Atelier, served as the inspiration for the Neo Frame Jumping Hour model. It was sold to the son of a famed Broadway shoemaker.

Jumping hour wristwatches faded at the onset of World War II but saw a revival in the 1960s and 1970s during the Space Age design era. Their true renaissance came in the early 1990s, when Audemars Piguet began combining the complication with minute repeaters – a practice the brand continued for two decades.

With the new model, which pays contemporary tribute to 1930s design, Audemars Piguet continues to honour horological tradition through technical and ergonomic innovation.

The post AUDEMARS PIGUET PRESENTS A JUMPING HOUR MODEL IN TRIBUTE TO DESIGN AND HOROLOGICAL TRADITION appeared first on Arab Watch Guide.

Showcasing an array of métiers d’art, this pocket watch is adorned with hand-engraved platinum, luminous ‘Grand Feu’ enamelling and a hand-made chain, each element celebrating the traditional crafts that characterise Haute Horlogerie. Limited to two one-of-a-kind platinum editions, these references stand as a tribute to the generations of artisans, engineers and visionaries who have shaped Audemars Piguet’s legacy. The first ultra-complicated watch truly designed to fit inside a pocket, it lays the foundation for a new horological concept that blends tradition, innovation and modern portability.

HIGH COMPLICATION, INTUITIVE OPERATION
Audemars Piguet’s pursuit of mechanical innovation has led to some of the most remarkable timepieces in watchmaking history. In 1899, the Manufacture unveiled L’Universelle, its most complicated pocket watch to date, crafted for Union Glashütte. In 1921, the Manufacture delivered its second ultra-complicated pocket watch – nicknamed La Grosse Pièce – to S. Smith & Sons. More than a century later, this spirit of ingenuity inspired the development of Calibre 1000, introduced with RD#4 in 2023, setting a new benchmark for both complexity and ease of use in a wristwatch. In tribute to this legacy of high complications, the 150 Heritage marks the third ultra-complicated pocket watch in this lineage and inaugurates Calibre 1150 – a new movement which retains Calibre 1000’s core architecture. Far from a simple adaptation, its mechanism has been revisited and reconstructed for optimal operation of the pocket watch.

As this creation is not worn on the wrist, Calibre 1150 has been adapted to a hand-wound format and the oscillating weight removed. Regrouping the Manufacture’s horological savoir-faire into a single movement counting 1,099 components, this feat of Haute Horlogerie tradition brings together 40 functions and 22 complications , among which a Grande Sonnerie, minute repeater, a semi-Gregorian perpetual calendar, a split-seconds flyback chronograph and a flying tourbillon. It further incorporates the Manufacture’s most recent R&D innovations – the Supersonnerie technology (RD#1), the ultra-thin movement architecture (RD#2) and the oscillator with increased amplitude (RD#3). To preserve visual harmony across the watch’s multiple complications, all calendar indications are displayed in dedicated apertures, keeping the chronograph counters clear and enabling instant, effortless reading of the date.

Going beyond traditional norms of construction, the teams blurred the line between case and movement, revisiting how the movement’s functions are activated. Both the position and role of each crown-pusher and corrector have been optimised through 3D modelling and physical testing to enhance tactile comfort and ease of use, while also ensuring each element is perfectly centred when the pocket watch is closed. This new construction removes any unnecessary controls, prevents accidental activation of functions and ensures the watch comfortably fits inside a pocket.
The crown-pusher at 2 o’clock starts and stops the chronograph, selects the chiming mode – silence, petite sonnerie or grande sonnerie – and activates the minute repeater with a new pull function. At 3 o’clock, the main crown-pusher – placed along the central axis with a rounded bow – handles winding, date correction in both directions, time-setting and the split-seconds hand during chronograph timing using a patented return mechanism linked to the winding stem. The one located at 4 o’clock resets the flyback chronograph and adjusts the month indication – moving forwards or backwards – with the push-piece returning to neutral after each activation for added precision and ease of use.

Two additional correctors are discreetly placed inside the caseback, which is accessible via a dedicated push-piece at 6 o’clock. One adjusts the weekday (“WD”), while the other, marked with a crescent, corrects the astronomical moon. Opening the caseback also reveals the Supersonnerie sapphire soundboard, which not only enhances the acoustic performance of the chiming mechanism but also offers a rare view of the intricate architecture and decorations of Calibre 1150. Unveiling more than the movement’s inner workings, the secret caseback opens to 180°, revealing both the main dial and the Universal Calendar – Audemars Piguet’s groundbreaking mechanical lunisolar calendar housed within the back of the watch.

CONNECTING HUMAN TRADITION WITH THE COSMOS
Since the dawn of civilisation, humanity has looked to the skies for guidance. By observing the waxing and waning of the moon and the steady course of the sun, our ancestors established cycles to organise civil, agricultural and cultural life. Despite the lack of communication between disparate groups, their calculations and observations often converged. Archaeological discoveries further reveal a striking coherence in the methods used to track time around the world, as seen in ancient sites and calendars across continents – from Göbekli Tepe in Turkey to Taosi in China and Stonehenge in England.

This shared fascination with the cosmos gave rise to a diversity of calendars – solar, lunar and lunisolar – each reflecting astronomical observations and marking cultural events. Solar calendars, such as the widely adopted Gregorian system, are based on the Earth’s revolution around the Sun, aligning the passage of days with the seasons defined by solstices and equinoxes. Lunisolar calendars, like the Hebrew, Hindu and Chinese systems, count months with lunar phases and years with the solar cycle, while lunar calendars, such as the Islamic calendar, solely follow the phases of the Moon.

Housed in the pocket watch’s caseback cover, the Universal Calendar draws inspiration from humanity’s relationship with the sky. Unlike traditional perpetual calendars, which follow a single time system, this mechanism embraces the plurality of interpretations around the world. Its dial not only presents complex astronomical data but also offers an alternative way to experience time by blending horology with astronomy and tradition.

Using the Gregorian calendar as a reference, the Universal Calendar itself compiles 8 complications which bring together solar, lunar and lunisolar cycles on a single dial for a 360° panorama counting 18 indications: the year, leap years, months, dates, weeks, moon phase and seasonal markers, such as solstices and equinoxes, and nine cultural celebrations drawn from global traditions. Some celebrations are based on the Sun – Christmas (Sol Invictus) and Saint John’s Day (Inti Raymi); some on the Moon – the beginning of Ramadan; and others are lunisolar, including Diwali, Rosh Hashanah, Pesach, Vesak, Easter and the Chinese New Year. Each event is shown as a consequence of an astronomical phenomenon, creating a strong connection between the cosmos and human tradition.

Operation of this mechanism is both tactile and immediate: a simple turn of the bidirectional wheel in the caseback instantly updates up to two centuries of calendrical cycles. Ranging from 1900 to 2099, a full rotation corresponds to one Metonic cycle with all indications updating instantly. As it functions independently of Calibre 1150, it remains synchronised until 2099, regardless of the timepiece’s power reserve.

“This timepiece pays tribute to humanity’s journey with timekeeping. It honours the astronomers and early scientists who first looked at the sky, the mathematicians who divided time and the watchmakers who made it visible. The 150 Heritage embodies human ingenuity and talent, reflecting a longstanding tradition of craftsmanship across civilisations.”

Giulio Papi
Director of Watch Conception, Audemars Piguet

PERPETUATING TRADITIONAL MÉTIERS D’ART
Crafted in tribute to the astronomers, watchmakers and artisans whose ingenuity has shaped the measurement of time across civilisations, the 150 Heritage pocket watch shines a light on the ancestral savoir-faire that have defined Haute Horlogerie for centuries.

Audemars Piguet has entrusted the decoration of this timepiece to master artisans. The platinum case, chosen for its rarity and deep symbolic value, is entirely hand-engraved – a very rare and demanding craft traditionally reserved for exceptional creations, which serves as the perfect tribute to a century and a half of creativity, savoir-faire, and heritage. By regrouping all chronograph push-pieces and crowns on a small portion of the case flank, the remaining surface becomes a canvas for commemorative motifs and scenes that depict the brand’s history, including portraits of its founders and the dedicated 150-year anniversary logo.

Crafted in 18-carat white gold, the main dial showcases various métiers d’art, featuring blue translucent grand feu enamelling achieved through multiple firings to create luminous depth. Framing the dial, the 18-carat white gold Roman numerals are engraved by hand and sit above star trails evoking the celestial rhythms that have inspired generations of watchmakers – a meticulous decoration done manually that extends to the Universal Calendar dial on the back of the watch, reinforcing the astronomical theme throughout the design. Also hand-engraved, the 18-carat pink gold hands add a touch of contrast for optimal legibility, echoing the tones of the chronograph hands and flying tourbillon bridge.

Completing the timepiece, a hand-made platinum chain pays tribute to the traditional art of chain-making, combining aesthetic harmony with practical elegance. This combination of métiers d’art – engraving, enamelling and chain-making – illustrates how Audemars Piguet perpetuates traditional skills to enrich its creations and contribute to the ongoing evolution of Haute Horlogerie. In addition to the two unique timepieces created in platinum, eight variations in 18-carat white gold will see the light of day, each reflecting the same standards of craftsmanship and attention to detail.

ROOTED IN 150 YEARS OF EXPERTISE
For a century and a half, Audemars Piguet has cultivated a tradition of excellence driven by a consistent pursuit of progress. Since the founders’ earliest school watches in 1875, calendar watches have played a central role in the Manufacture’s technical exploration. This expertise gave rise to two landmark creations: L’Universelle, crafted for Union Glashütte in 1899 and known as the most complex chronograph ever produced by Audemars Piguet, and La Grosse Pièce, delivered in 1921 to the English watchmaker S. Smith & Sons, featuring 18 complications and the most comprehensive calendar functions in the brand’s history.

This pioneering spirit continued throughout the decades. In 1955, the Manufacture introduced the first perpetual calendar wristwatch with leap year indication (Model 5516, Calibre 13VZSSQP), followed in 1978 by the ultra-thin selfwinding perpetual calendar (Model 5548, Calibre 2120/2800) – the thinnest of its time. The launch of Calibre 5134 in 2015 adapted the perpetual calendar to the proportions of the 41 mm Royal Oak case, marking a turning point in ergonomic design.

Calibre 5133 (RD#2) redefined ultra-thin architecture in 2018 by integrating all perpetual calendar functions on a single plane. Five years later, Calibre 1000 (RD#4) combined multiple complications within a single, ergonomic movement. Most recently, calibres 7138 and 7136 introduced last year mark a shift in how complications are imagined at Audemars Piguet, placing comfort and intuitive ergonomics at the heart of the experience while also reflecting a new chapter in the brand’s approach to mechanical development.

As the latest chapter in this lineage, the ultra-complicated hand-wound Calibre 1150 extends the Manufacture’s legacy beyond mechanics, offering a perfect blend of technical and aesthetic refinement.

“Encountering ‘L’Universelle’ at the Musée Atelier instantly brought back memories of my grandfather’s pocket watch – a simple moment that became the starting point of an extraordinary journey. More than a tribute to the past, the 150 Heritage embodies Audemars Piguet’s commitment to craftsmanship, bringing together generations, skills and visions from every corner of our Manufacture. Above all, it stands as a testament to the collective energy and unwavering passion that continue to shape the brand’s future.”

Ilaria Resta
Chief Executive Officer, Audemars Piguet

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AN AMBITIOUS PROJECT WITH COLLABORATION AT ITS CORE
From the early days of the Établissage system—a network of artisans and ateliers specialised in individual watch components – Audemars Piguet has fostered a strong sense of collaboration while nurturing individual talent. Guided by this philosophy, this ambitious building project was developed with the aim of gathering the manufacturer’s technical specialities – previously dispersed across the Vallée de Joux – under one roof.

Designed by Geneva-based architectural firm de Giuli & Portier, and built by Alpenda SA, construction was completed within three years of receiving the building permit in 2019. Modelled on the Industry 4.0 concept , the project’s flexible infrastructure addresses future ways of working, allowing the company to adapt to evolving needs over time. With a surface area of 23 700 m2, the new production site accommodates up to 700 employees, offering a pleasant working environment characterized by open space and natural light. Transparent partitions and ample meeting rooms encourage communication and idea-sharing between teams, while dedicated quiet zones and traditional offices allow for focus and privacy, allowing individuals to choose the environment that suits them best.

Fitted with electrochromic technology, the tint of the glass façade automatically adjusts to light intensity and heat, ensuring optimal comfort for employees at all times without obstructing their exposure to natural light and surrounding views.

« With this new building, Audemars Piguet continues to invest in the well-being and expertise of its employees. Designed to optimise collaboration and workflow, the flexibility of the space will allow us to adapt to evolving needs as we build the future of the brand.”
Ilaria Resta Chief Executive Officer Audemars Piguet

ANCHORED IN OUR ROOTS LOOKING TO THE FUTURE
Poised to support future brand growth, the newly centralised production site will gradually allow for an increase in production capacity thanks to an optimised workflow and state-of-the-art facilities. Automated solutions designed to eliminate certain manual tasks will enable more employees to focus on those requiring dexterity and expertise.
As such, Audemars Piguet continues to bring its savoir-faire into the 21st century while promoting and safeguarding watchmaking expertise native to the Vallée de Joux. By contributing to the region’s growth, the Manufacture contributes not only to economic development but also to local community life.

A STATE-OF-THE-ART STORAGE SYSTEM
The Arc is equipped with a centralised storage system designed to streamline stock management and improve efficiency. Making optimal use of limited space, this GTP (Goods-to-Person) system uses shuttles to deliver components and parts to the appropriate workshops. Standing 15 metres high and fitted with 66 robots, this automated tool can perform up to 350 movements per hour (1,200 by 2030).

Production and Customer Service teams will now be able to retrieve the necessary components while saving around 15 seconds per operation. As the technical heart of the Manufacture in Le Brassus, the centralised storage system required several months of construction and testing before becoming fully operational and meeting the expectations of the various production teams.

AN INDUSTRIAL BUILDING BUILT TO BE SUSTAINABLE
Following in the footsteps of Audemars Piguet’s existing production sites in Le Locle and Meyrin, the Arc is Minergie-ECO® certified, meeting the highest ecological standards for buildings in Switzerland. From the outset, the project was developed with the aim of limiting its impact on the environment.

Thanks to a carefully considered Partial Land Use Plan, an eco-responsible approach was prioritised. A dedicated green roof, for instance, recreates the ideal conditions for insects and birds, while simultaneously offering a panoramic view of the Vallée de Joux. The building benefits from advanced energy efficiency: in addition to heat recovered from industrial machinery, a fully renewable complementary energy source is provided via connection the “Brassus Bois” wood-fired heating plant located next to the station. At the start of the project, non-polluted excavated soil was transported from this same station for reuse in a major infrastructure project, reducing the ecological impact of the construction phase. Finally, the installation of a photovoltaic panel surface exceeding regulatory requirements provides additional energy to the Manufacture.

The architects proposed a crenelated surface to animate the curved façade, which stretches 321 metres. Beyond its aesthetic appeal, it reduces the risk of bird collisions and limits glare from glass reflections. To guard against potential flooding, the building is surrounded by an 80-centimetre wall that protects it by diverting water towards a natural drainage channel without altering the surrounding environment.

Located next to Le Brassus station, the Arc is accessible by public transport and offers 502 parking spaces (274 at the Arc, 228 at the station) to minimise the impact of parking on public areas. The Brassus-Gare car park is also available to the community at weekends and during special events outside company use. Numerous spaces for electric vehicles have been provided. The company has also implemented an internal programme to encourage carpooling among employees and has generalised remote working for administrative roles.

Combining heritage and forward-looking vision, ancestral know-how and cutting-edge technology, this new building marks a significant milestone for Audemars Piguet and reflects its deep roots in the Vallée de Joux.

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NATURAL BEAUTY EXPERTLY REVEALED
Audemars Piguet began exploring the aesthetic potential of natural stone dials in the 1960s. Requiring exceptional manual skills, each dial is crafted from a wafer-thin layer of stone, painstakingly cut and polished to preserve its integrity while revealing its natural brilliance. The tonal variations, veining and textural richness inherent to each stone ensure that no two dials are alike.

Beyond their rarity and physical beauty, precious stones have long been imbued with symbolic meanings that resonate with different facets of the human experience. They are also believed to hold unique energetic properties that support emotional balance, wellbeing and empowerment.

For this exclusive trio, Audemars Piguet has carefully sourced the precious stones from around the world: vivid ruby root from Tanzania, associated with vitality and protection; deep blue sodalite from Brazil, linked to calm and clarity; and rich green malachite from Zambia, said to support growth and transformation. For many, these materials are more than decorative – they carry emotional weight, making each timepiece a talisman as much as a mechanical marvel.

BOLD DESIGN BLENDING ELEGANCE AND PRECISION
Each new reference has been meticulously designed to highlight both the natural beauty of the stone dial and the mechanical sophistication of the ultra-thin selfwinding flying tourbillon positioned at 6 o’clock. The case material has been thoughtfully selected to enhance the character of each stone: 18-carat white gold for ruby root, 18-carat pink gold for blue sodalite and 18-carat yellow gold for green malachite.

This gold extends to the hands and to the intricate details around and within the tourbillon cage, creating a rich and harmonious visual contrast with the stone dial. The alternation of satin-brushed and polished finishes across the case surface creates a subtle interplay of light, while the luminescent coating on the hands ensures legibility in low-light conditions.

Completing the design, the vibrant dial colours continue seamlessly into matching alligator leather straps with large square scales. A colour-coordinated interchangeable rubber-coated strap is also available on demand, offering greater versatility for everyday wear.

AN ULTRA-THIN HIGH COMPLICATION

At the heart of these new creations beats Calibre 2968 – the Manufacture’s selfwinding flying tourbillon movement designed specifically for watches under 41 mm. First introduced in 2022 on the Royal Oak RD#3 (first in 39 mm then in 37 mm), this ultra-thin calibre made its debut in the Code 11.59 by Audemars Piguet collection earlier this year in 38 mm.
Measuring only 3.4 mm in thickness, this high-end complication has been rethought and redesigned to reduce its width while retaining the initial proportions of its cage. For the first time, the titanium tourbillon cage is equipped with a peripheral drive, minimising weight while a high-amplitude escapement enhances reliability, energy distribution and precision. Unlike a traditional tourbillon, the flying tourbillon cage is supported only from below, giving it a graceful, floating appearance above the dial’s natural stone backdrop.
Drawing on generations of expertise, the 38 mm Code 11.59 by Audemars Piguet Selfwinding Flying Tourbillon timepiece sets a new standard for miniaturisation, demonstrating that technical savoir-faire and ergonomic elegance are not mutually exclusive, but rather two sides of the same coin. With its refined architecture, the 38 mm case embodies both technical mastery and artistic intention, offering a powerful horological experience in a beautifully proportioned form.

MECHANICAL SOPHISTICATION AT EVERY SIZE
Since its founding, Audemars Piguet’s legacy of design exploration and variety owes much to the tastes and demands of women. Often worn as pendants, brooches or rings, early women’s watches provided a platform for innovation for watchmakers, driving the Manufacture’s quest for miniaturisation as well as its pioneering role in the development on the wristwatch at the turn of the 20th century. This led the brand to achieve a series of world firsts in both the ultra-thin and ultra-small categories.

Reducing the size of components while maintaining their functionality requires exceptional precision and skill, as smaller parts must be meticulously crafted to ensure they work seamlessly together. Over time, watchmakers at Audemars Piguet have consistently attempted to distil complicated movements into ever smaller formats. This dedication not only enhances the performance and aesthetics of the brand’s watches but also makes complications accessible and wearable at every size.

Today, Audemars Piguet offers timepieces that transcend gender and convention. Each piece is a vibrant statement of personal expression, capturing the Manufacture’s dedication to masterful artistry and enduring emotional connection.

The post TRIO OF VIBRANT STONE DIALS ILLUMINATES CODE 11.59 BY AUDEMARS PIGUET COLLECTION appeared first on Arab Watch Guide.

Audemars Piguet has announced a majority investment in lnhotec SA, a Swiss company renowned for its excellence in micromechanics and its expertise in precision machining.

lnhotec SA has been a trusted supplier to Audemars Piguet for many years. This investment builds on the longstanding relationship between the two companies and reflects a shared long-term industrial vision while strengthening lnhotec SA’s position within the Swiss watchmaking industrial ecosystem and supporting its long­term development trajectory. It also demonstrates Audemars Piguet’s commitment to preserving and strengthening both the Swiss watchmaking industrial ecosystem and its own long-term industrial independence.

lnhotec SA will continue to operate as an autonomous company under its own name, serving its current and future clients, including all watch brands in its portfolio.

The company’s founder and CEO, Alexandre Erne, will retain a significant minority stake in lnhotec SA, ensuring continuity of operations and alignment with the company’s long-term vision. He will continue to serve as CEO and Chairman of the Board, remaining a key driver of lnhotec’s success.

This partnership marks an important milestone in lnhotec ‘s history. Audemars Pi6ruet ‘s investment is a strong vote of confidence in our team, our expertise, and our long-term potential. By joining forces, we are creating the conditions/or lnhotec to continue innovating and serving the entire watchmaking industry. ”
Alexandre Erne, Founder and CEO of lnhotec

This investment is built on shared values. It is about consolidating strategic key skills and supporting the continuity of an expertise that is essential to the future of Haute Horlogerie, not only for Audemars Piguet, but for the entire industry.

Lucas Raggi, Chief Industrial Officer, Audemars Piguet

PRESERVING AUTONOMY

Audemars Piguet will now provide strategic and financial support to lnhotec SA who retains its operational autonomy. Managerial decisions, industrial activities and commercial relationships will remain fully under the responsibility of lnhotec’s management team.

STRENGTHENING THE SWISS INDUSTRIAL ECOSYSTEM

Audemars Piguet remains committed to fostering the diversity and independence of its partners throughout the supply chain. “This investment ensures the future of a precision expertise that contributes to the excellence of Swiss Haute Horlogerie. We are proud to support lnhotec’s continued success while contributing to the vitality of the ecosystem as a whole,” commented Lucas Raggi, Chief Industrial Officer at Audemars Piguet.

The post AUDEMARS PIGUET ACQUIRES A MAJORITY STAKE IN INHOTEC SA appeared first on Arab Watch Guide.

This elegant timepiece – the first selfwinding flying tourbillon eve offered by the Manufacture in this diameter – houses the ultra-thin RD#3 movement, Calibre 2968, which seamlessly combines sophisticated aesthetic with state-of-the-art performance. Building on the brand’s uncompromising approach to fine watchmaking, it heralds a new generation of smaller Code 11.59 by Audemars Piguet complications blending traditional craftsmanship, cutting-edge technology and timeless refinement.

AN ULTRA-THIN FLYING TOURBILLON BLENDING FINESSE AND ELEGANCE

The new Code 11.59 by Audemars Piguet timepiece welcomes to the collection the ultra-thin selfwinding flying tourbillon movement, Calibre 2968 (RD#3), unveiled in 2022 on a 39 mm Royal Oak “Jumbo” and a smaller 37 mm model. This state-of-the-art movement, measuring a mere 3.4 mm in thickness, is offered for the first time in a 38 mm case.

This sophisticated, high-end complication counteracts the effects of gravity on the watch’s accuracy. The balance wheel and escapement are housed in a tiny rotating cage that makes one revolution every minute to prevent their centre of gravity from remaining in the same orientation. Unlike its tourbillon sibling, the flying tourbillon cage is supported only from below so as to reveal the watch’s beating heart on the dial side. It is considered today as a symbol of watchmaking art, as it requires a high mastery of the craft.

The flying tourbillon cage of Calibre 2968 has been designed with thinness, harmonious aesthetic and performance in mind. In addition to repositioning several components compared to previous flying tourbillon movements, the AP teams incorporated a new escapement to drive the titanium cage peripherally, improving energy distribution to the tourbillon, while lightening and refining this regulating organ.’ In addition, the escapement relies on an oscillator with increased amplitude that pushes the limit at which knocking occurs— a state which happens when excessive energy is transferred from the escapement to the oscillator-and enhances reliability, energy efficiency and precision.

A FINE SAND GOLD CASE DANCING IN THE LIGHT

Reflecting the finesse of the movement it houses, the new Code 11.59 by Audemars Piguet Selfwinding Flying Tourbillon is dressed in an elegant sand gold case set with diamonds that comes to life with every movement of the wrist. This 18-carat alloy, which combines gold with copper and palladium, makes its first appearance in the Code 11.59 by Audemars Piguet collection this year, following its debut in the Royal Oak in 2024. Hovering between white and pink gold depending on the light and the angle, this material accentuates the endless play of light created by the case’s multifaceted architecture and the subtle alternation of satin-brushing and polished chamfers that embellishes its surfaces.

The 235 brilliant-cut diamonds (~ 1.2 carats) adorning the case middle, lugs and crown add shimmering elegance. The diamonds have been carefully selected to meet the Manufacture’s exacting criteria in terms of clarity and colour, before being cut in various sizes to match the different geometries of the case. The quality of their cut is as important as their intrinsic quality for infinite radiance, while achieving seamless alignment is key to a graceful and harmonious composition.

A SOPHISTICATED PALETTE FOR THE SIGNATURE DIAL AND STRAP

Continuing the watch’s glamorous aesthetic, the dial presents a rich tone-on-tone sand gold hue. Obtained by Physical Vapour Deposition (PVD), this warm shade lends brilliance to both the inner bezel and the collection’s signature embossed pattern made up of concentric circles rippling outwards from the centre of the dial Hundreds of tiny holes complement the design, adding light, depth and character. Debuted in 2023, this motif was created in collaboration with Swiss guilloché artisan Yann Von Kaenel, who hand-engraved the die.

This refined dial opens onto the flying tourbillon pulsating at dial level at 6 o’clock, offering an ethereal view of the timepiece’s beating heart. The 18-carat sand gold hour-markers and hands add to the harmonious monochrome look, while the luminescent materials on the hands grant optimum legibility in the dark.

The watch is mounted on an elegant beige alligator strap with large square scales, the darker shade of which contrasts subtly with the case and dial, while enhancing their natural play with light. The brilliant-cut diamonds adorning the folding clasp add a final touch of radiance.

A POWERFUL LEGACY OF COMPLICATIONS

Since 1875, Audemars Piguet has been a pioneer in the manufacture of movements for a varied clientele making a name for itself both with highly complicated pocket watches and with small complications for women fitted into pendants, brooches or rings. Its expertise in miniaturisation provided a platform for innovation and played a trailblazing role in the development of the wristwatch in the early decades of the 20* century, leading the brand to achieve a series of world firsts in both the ultra-thin and ultra-small categories.

Designed by Jacqueline Dimier, this ultra-thin wristwatch, just 5.3 mm thick, placed the tourbillon escapement on the dial side – a first in the history of watchmaking. Its titanium tourbillon cage remains one of the smallest in the world today with a diameter of 7.2 mm, as well as one of the lightest, weighing only 0.123 grams. The tourbillon has been reinterpreted ever since, alone or in combination with other functions, throughout the Manufacture’s collections, starting with the Royal Oak in 1997.

More than 20 years later, in 2018, the flying tourbillon appeared in the Royal Oak Concept collection, with the launch of two hand-wound 38.5 mm and 42 mm timepieces, each with a distinctive aesthetic. In 2020, the Royal Oak welcomed the Manufacture’s first selfwinding flying tourbillon with a series of 41 mm timepieces. A year later, this prestigious mechanism was found on a 43 mm Royal Oak Offshore, paired with a chronograph.

Pushing technical innovation further to mark the Royal Oak’s 50*h anniversary in 2022, the flying tourbillon was fully rethought to fit in the exact dimensions of the Royal Oak “Jumbo” case before being housed in an even smaller 37 mm – a first as this selfwinding complication was previously reserved for 41 mm diameters. The ultra-thin Calibre 2968 (RD#3) that powered these feats of engineering makes its debut this year in a new diameter in the Code 11.59 by Audemars Piguet, continuing to open up new technical and aesthetic horizons for a wide range of wrists.

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A FINAL TRIBUTE TO CALIBRE 5135
This year, the brand honours its solid foundations while embracing innovation for the future. The Royal Oak Perpetual Calendar Openworked “150th Anniversary” is the last reference to house Calibre 5135, the movement that has powered Audemars Piguet’s 41 mm openworked perpetual calendars for almost a decade, closing down the curtain on a story that began in 1978 with the birth of its historic predecessor.

In the dawn of the 1970s, at the height of the quartz crisis, Audemars Piguet released the thinnest selfwinding perpetual calendar wristwatch of its time equipped with the ground-breaking Calibre 2120/2800. Conceived in secret by three dedicated watchmakers, this perpetual calendar movement set new industry standards, ushering a significant era of growth for the company. Over the next 18 years, the Manufacture produced, cased and sold more than 7,000 movements, reviving other classic complications along the way, including the openworked chronograph (1980), the first selfwinding tourbillon (1986), the minute repeater (1992) and the Grande Complication combination (1996). In 1984, Calibre 2120/2800 made its debuts in the Royal Oak collection (Model 5554), and an openworked version was introduced two years later (Model 25636). Although the production of perpetual calendar wristwatches was well underway, the company continued to create avant-garde and classical pocket watches with this complication too.

Building on its predecessor’s legacy, Calibre 5134 was launched in 2015, adapting the perpetual calendar movement to a larger 41 mm case diameter while maintaining a thin 4.5-mm profile. It was housed in a new Royal Oak model with a dynamic aesthetic (ref. 26574), bringing renewed attention to a complication whose popularity had been in decline since 1989. This revival was confirmed in 2017 with the launch of a black ceramic animation causing a sensation (ref. 26579CE), which laid the foundations for many creative innovations in the perpetual calendar line.

Combining the ancient art of openworking with cutting-edge technology, Calibre 5135 was released in 2019 to power the Royal Oak Perpetual Calendar Openworked in black ceramic (ref. 26585CE), revealing the movement’s refined decorations from both the front and the back of the watch. This sophisticated calibre has since then equipped various iterations, including an 18-carat white gold model set with 962 diamonds (ref. 26625BC) and a collaboration with Cactus Jack (ref. 26585CM) in 2023, before exploring new creative possibilities with Frosted Gold (ref. 26585BC) last year. After nearly a decade, this movement takes its final bow in a limited edition dedicated to celebrating the brand’s 150 years of fine watchmaking.

A DIAL NODDING TO THE PAST
To bring past and present in conversation, the design codes of this limited edition’s dial are inspired by a historical openworked perpetual calendar pocket watch (ref. 25729) exhibited at the heart of the Musée Atelier Audemars Piguet.

Fitted with a sapphire dial, the new Royal Oak Perpetual Calendar Openworked “150th Anniversary” gives pride of place to the openworked movement ticking within. The inner bezel and subdial surrounds reinterpret the contrasted aesthetic of the original pocket watch by featuring a rich blue hue that has been slightly darkened to harmonise with the deep colour of the matching bathtub hands in 18-carat white gold, filled with luminescent material for optimal readability. In the same vein, the hour-markers are executed in a silver-grey shade and in a refined round shape to mirror the ones made of brilliant-cut diamonds on the historical timepiece. The white typeface used for the perpetual calendar’s numerical and alphabetical indications has also been revisited to lend the dial an elegant and vintage aesthetic.

HIGH-TECH MATERIALS FOR ENHANCED ERGONOMICS
For this 41 mm limited edition, the lightness of titanium is combined with the resistance of Bulk Metallic Glass (BMG), pushing material exploration and creativity further.

Discovered in the 1960s, BMG is now used in applications as diverse as micro-electronics and golf. Produced in hundreds of different variations, this alloy shares several characteristics with other glasses when cooled rapidly, an essential step that prevents crystals from forming and freezes the material in a glassy state lending it strong, amorphous properties. Constantly experimenting with techniques, shapes and materials, Audemars Piguet has co-developed its own palladium-based BMG, composed of over 50% palladium, making it highly resistant to wear and corrosion with a glossy lustre. The Manufacture first coupled titanium with BMG for the one-of-a-kind Royal Oak “Jumbo” Extra-Thin timepiece (ref. 15202XT) created for Only Watch in 2021, which also inaugurated the use of palladium-based metallic glass in watchmaking. BMG was further introduced to the Royal Oak’s “Jumbo” (ref. 16202XT) line two years later, before adorning a Royal Oak Perpetual Calendar (ref. 26585XT) in 2024.

Used for the new limited edition’s bezel, caseback frame and bracelet studs, the BMG has been mirror-polished to reveal its unwavering glow, elegantly complementing the titanium case and bracelet links for a captivating play of light. Known to be lightweight and resistant to shock, the titanium presents a satin-brushed finish with polished chamfers enhancing this timepiece’s brilliance.

THE MAJESTY OF THE MOON
This openworked Perpetual Calendar reference’s moon-phase indication at 6 o’clock offers a different perspective on the passing of time. The phases of the lunar cycle are displayed on the dial by means of a disc decorated with a photographic representation of the Moon as seen from Earth. Based on a NASA photograph, this realistic image has been transferred onto the moon phase disc using metallisation on sapphire , paying tribute to the beauty of the celestial body. As it engages with the movement’s mechanism, the aperture on the dial presents the eight different phases of the 29.5-day lunar cycle, as seen from both sides of the equator.

From our geocentric perspective, the Moon appears to change shape as it orbits the Earth. Although the lunar cycle is a global phenomenon, its eight phases appear in reverse whether the viewer is standing in the Northern or Southern hemisphere. This astronomical phenomenon is replicated in this limited edition’s perpetual calendar function which features two Moons to accommodate both perspectives.

Selfwinding Calibre 5135 automatically takes into account the number of days in the month and correctly displays the prevailing date even in leap years. Assuming the watch is kept fully wound, the perpetual calendar will not require manual correction until 2100, at which point it will need to be adjusted to stay in line with the Gregorian calendar .

CELEBRATING THE ANNIVERSARY WITH SPECIAL DECORATIONS
This limited edition of 150 pieces is one of the references enhanced by subtle design codes specifically created to celebrate the Manufacture’s 150th anniversary. On the dial side, the moon-phase indication at 6 o’clock harmoniously integrates an “Audemars Piguet” signature inspired by historical documents. The caseback frame includes two additional engravings: the “150” logo created in honour of the celebration, and the mention “1 of 150 pieces” in reference to the number of iterations produced.

The post A LIMITED-EDITION ROYAL OAK PERPETUAL CALENDAR OPENWORKED CELEBRATING AUDEMARS PIGUET’S 150 YEARS appeared first on Arab Watch Guide.

Developed over several years, this material achieves the challenge of maintaining a uniform colour throughout all watch components. These three timepieces showcase the Manufacture’s relentless quest for innovation in terms of design and materials, in tribute to the region of Le Brassus where Audemars Piguet was founded 150 years ago.

LOOKING TO THE SKY FOR INSPIRATION
The measurement of time finds its origins in the astronomical observations that have consistently guided watchmakers in their quest for precision. Gazing at the sky, they have examined the movements of stars and the Moon for centuries, seeking to reflect them in their creations. Known for its clarity, the Vallée de Joux’s night sky has inspired generations of watchmakers since the 18th century, fostering the development of some of the world’s most prestigious complications.

Beyond the movement of celestial bodies, the shade of the region’s clear night sky has also nurtured the imagination and creativity of Audemars Piguet artisans. It was this deep blue hue that inspired Gérald Genta to replicate it for the dial of the first Royal Oak in 1972 (Model 5402). At the time, the Geneva-based dial maker Stern developed the “Bleu Nuit, Nuage 50” colour by adding black pigment n°50 to the protective varnish (called Zapon). The “cloud” effect is said to come from the chemical reaction produced by the small amount of black colour poured into the liquid lacquer.

Recreating this blue colour is a complex process, as the shade varies depending on the duration and temperature of the galvanic bath. Today, “Bleu Nuit, Nuage 50” dials are obtained using a PVD (Physical Vapour Desposition) process to ensure a homogenous colour. Whether due to its complexity or the enthusiasm surrounding the first Royal Oak model, the “Bleu Nuit, Nuage 50” hue has since become as iconic as the timepiece itself.

“The sky of the Vallée de Joux has played a key role in the history of Audemars Piguet, inspiring the colour ‘Bleu Nuit, Nuage 50’, which is now one of the brand’s signature elements. The launch of this new ceramic is a tribute to both the region and its talents, and to our relentless quest for innovation.”
Ilaria Resta – Chief Executive Officer, Audemars Piguet

CERAMIC, WHEN ANCESTRAL KNOW-HOW MEETS CUTTING-EDGE TECHNOLOGY
The “Bleu Nuit, Nuage 50” ceramic joins the black, electric blue, green and brown hues already available in the collections, furthering the Manufacture’s enduring tradition of innovation in terms of materials and design.

Lightweight and resistant to scratches yet challenging to machine due to its extreme hardness, ceramic has been part of the brand’s offering since 1986. However, this material is among the oldest of humanity, dating back to the Neolithic period when it was used as potteries for practical purposes. Since then, it has undergone a spectacular evolution, allowing the creation of art and decoration, and becoming more durable and resistant with time. Taking various forms across cultures, ceramic became porcelain in China, earthenware in Italy or France, and glazed in Islamic traditions. The Industrial Revolution propelled ceramic into a new era of innovation, enabling serial production. Ongoing research into this material eventually leads to the development of ceramics with groundbreaking properties, inaugurating new applications each day, and subsequently introducing it into fields as diverse as construction, aeronautics, electronics, medicine, telecommunications, robotics… and watchmaking.

Applying the “Bleu Nuit, Nuage 50” shade to ceramic required several years of development to guarantee a homogenous hue throughout the watch and to ensure that it could be reproduced. Each watch component undergoes numerous production stages including machining, sintering and finishing. This final step is carried out by hand with the extreme care and dexterity of Audemars Piguet artisans, who grant ceramic components the same high-end level of finishing as precious metals, despite their hard and breakable nature. The depth of colour is further embellished by the alternating polished and satin-brushed surfaces that create plays of light and highlight the multifaceted architecture of the Royal Oak and Royal Oak Offshore cases. Combining high-tech machining with traditional hand-finishing, this unique material brings together a wide range of modern watchmaking skills.

“Developments and innovations in the field of ceramic are at the heart of Audemars Piguet’s projects, as the company continues to push the limits of its expertise in terms of colour – especially by dressing all watch components in the iconic ‘Bleu Nuit, Nuage 50’ hue.”
Thibaut Le Loarer – Head of Research, Audemars Piguet

THREE MODELS IN “BLEU NUIT, NUAGE 50”
The 41 mm Royal Oak Double Balance Wheel Openworked model is entirely crafted in “Bleu Nuit, Nuage 50” ceramic. This monochromatic aesthetic gives centre stage to the rhodium-toned openworked movement placed at dial level below the sapphire crystal, creating a striking visual contrast enhanced by pink gold details such as the hands and hour-markers. Powered by selfwinding Calibre 3132, this timepiece features the double balance wheel mechanism patented by AP in 2016, which provides the watch with enhanced precision and stability. By incorporating two balance wheels and two hairsprings assembled on the same axis, the system oscillates in perfect synchrony. Visible from both the dial and the caseback, the mechanism offers a privileged view of the watch’s beating heart, while the openworked bridges reveal some components of the gear train. Blending modern technologies, such as CNC (computer numerical control) machining, and manual craftsmanship including polished V-angles, this timepiece epitomises Audemars Piguet’s uncompromising spirit.

The 42 mm Royal Oak Offshore Selfwinding Chronograph presents a more sportive monochromatic aesthetic. Its ceramic components echo the “Bleu Nuit, Nuage 50” hue of the inner bezel, Méga Tapisserie dial, and chronograph counters. The homogenous aesthetic is subtly contrasted by the eight hexagonal screws in stainless steel punctuating the bezel, as well as the titanium crown chip and caseback. Complementing these elements, the luminescent 18-carat white gold hands and hour-markers enhance readability. Just like the AP monogram, they stand out from the motif of dial, while the chronograph indications, tachymeter scale, and date indication appear in white on a blue background. The chronograph counters retain the collection’s emblematic vertical alignment, displaying the hours at 12 o’clock, minutes at 9 o’clock and small seconds at 6 o’clock. With this model, the collection also welcomes a brand-new ceramic bracelet, whose pins connecting the studs to the links are now seamlessly integrated for an elegant rendering. The watch beats to the rhythm of Calibre 4404, an integrated selfwinding chronograph with a column wheel and flyback function that allows it to restart instantly without having to stop or reset it first. In addition to revealing the movement’s refined decorations and the dedicated pink gold oscillating weight, the sapphire caseback offers a unique view of the column wheel’s inner workings, bringing together aesthetic refinement and watchmaking excellence.

Finally, the 43 mm Royal Oak Offshore Selfwinding Chronograph boasts a two-toned design, combining stainless steel with “Bleu Nuit, Nuage 50” ceramic on the bezel, push-pieces and crown, for a powerful colour contrast that extends to the dial. With its “Bleu Nuit, Nuage 50” Méga Tapisserie pattern accentuating the timepiece’s robust silhouette, it serves as a perfect backdrop for the 18-carat hands and hour-markers filled with luminescent material. The chronograph indications and tachymeter scale are printed in white to offer optimum readability. Powered by Calibre 4401, the timepiece features a minute counter at 9 o’clock, an hour counter at 3 o’clock and a small seconds counter at 6 o’clock, all of which are rendered in a lighter blue hue enhancing readability and contrast, while the white gold AP monogram is displayed at 12 o’clock. The caseback’s sapphire crystal reveals the flyback chronograph movement’s refined decorations along with the rhodium-toned 22-carat pink gold oscillating weight. Mounted on a textured calfskin leather strap matching the ceramic’s hue, this model is equipped with the interchangeability system and comes with an additional blue rubber strap emphasising the collection’s sportive identity.

With the introduction of the new “Bleu Nuit, Nuage 50” ceramic, Audemars Piguet creates a new link between past and future, paying tribute to the talents that have shaped its history and to the Vallée de Joux where the company has been established for 150 years.

The post AUDEMARS PIGUET REVEALS A NEW SHADE OF CERAMIC EVOKING THE SKY OF THE VALLÉE DE JOUX appeared first on Arab Watch Guide.

This iconic blue hue now graces ceramic to dress two distinctive Royal Oak Offshore Selfwinding Chronographs. Developed over several years, this material showcases the Manufacture’s relentless quest for innovation in terms of design and materials, while paying tribute to the region of Le Brassus where Audemars Piguet was founded 150 years ago.

DISCOVER THE NEW “BLEU NUIT, NUAGE 50” CERAMIC

Combining high-tech machining with traditional finishing, this unique material brings together a wide range of modern watchmaking skills. While several years of development went into applying the “Bleu Nuit, Nuage 50” shade to ceramic and ensuring a homogenous hue that could be reproduced, each watch component undergoes meticulous hand-finishing in the final stages of production to further embellish the depth of colour and enhance plays of light.

Now available in white, black, brown, blue, green and grey, ceramic continues to push the boundaries of both style and function, reflecting the brand’s enduring commitment to exploring materials by combining tradition with innovation.

TWO ROYAL OAK OFFSHORE SELFWINDING CHRONOGRAPH MODELS

The 42 mm Royal Oak Offshore Selfwinding Chronograph presents a sportive monochromatic design in “Bleu Nuit, Nuage 50” ceramic, which echoes the hue of the inner bezel, “Méga Tapisserie” dial, and chronograph counters. The homogenous aesthetic is subtly contrasted by eight white gold hexagonal screws punctuating the bezel, as well as luminescent 18-carat white gold hands and hour-markers. This reference also welcomes a brand-new ceramic bracelet, whose pins connecting the studs to the links are now seamlessly integrated for an elegant rendering.

Combining stainless steel with “Bleu Nuit, Nuage 50” ceramic on the bezel, push-pieces and crown, the 43 mm Royal Oak Offshore Selfwinding Chronograph boasts a powerful two-toned aesthetic that extends to the dial. Its matching “Méga Tapisserie” pattern accentuates the timepiece’s robust silhouette while serving as a perfect backdrop for the 18-carat hands and hour-markers filled with luminescent material. The chronograph counters are rendered in a lighter blue with white indications for enhanced contrast offering optimum readability. Mounted on a textured calfskin leather strap matching the colour of the ceramic, this model is equipped with the interchangeability system and comes with an additional blue rubber strap.

These two novelties house the Manufacture’s latest integrated selfwinding chronograph movements. The 43 mm reference is powered by Calibre 4401, while the 42 mm model is equipped with Calibre 4404, both featuring the flyback function, which allows the wearer to reset and restart the chronograph without having to stop it first. In addition to revealing the movement’s refined decorations and the dedicated oscillating weight, the sapphire caseback offers a unique view of the column wheel’s inner workings, bringing together aesthetic refinement and watchmaking excellence.

AN ARTISTIC EXPLORATION OF BLUE

In his experimental approach to the world of “Bleu Nuit, Nuage 50”, Hugo Mapelli merges traditional techniques with modern equipment for a unique visual experience. This Paris-based photographer’s dialectical method reflects the historic significance behind the iconic shade of blue while drawing inspiration from Audemars Piguet’s relentless exploration of materials.

The post AP’S ICONIC BLUE NOW DRESSES CERAMIC appeared first on Arab Watch Guide.

A TWO-TONE CFT CARBON CASE
Combining innovation with cutting-edge technology, this 42 mm Royal Oak Concept Flying Tourbillon features a case middle crafted in Chroma Forged Technology (CFT) carbon — a new material introduced in September 2024 on the Royal Oak Concept Split-Seconds Chronograph GMT Large Date. CFT carbon is obtained by colouring small pieces of carbon fibres and layering them several times with resin in a mould. The content of the mould is then compressed to release air bubbles before the mixture is placed in an autoclave oven to cure under pressure for about ten hours, producing a carbon block that is machined into the final component.

Developed by Audemars Piguet’s R&D team, this patented process allows a wide variety of creative possibilities, as the random setting of the fibres offers a one-of-a-kind rendering revealed after the component is manufactured.

For this special edition, the distinctive forged carbon case middle is enhanced with metallic bronze hues, while the black ceramic bezel, screw-lockec crown and decorative push-piece guards emphasise the watch’s ultracontemporary design.

The two-tone architectural dial features a black inner bezel and matching bridges, contrasted with pink gold inserts that echo the balance wheel and luminescent hour-markers and hands. The mesh decorations at 4, 8 and 12 o’clock further the high-tech aesthetic, while subtly revealing the hand-wound Calibre 2978 ticking within. On the back of the watch, the black ceramic caseback frame is combined with a pink-gold inner bezel featuring the name “Royal Oak Concept” and a sapphire crystal offering a view of the movement’s laser decorations mirroring the dial. This futuristic wristwatch is completed by a black rubber strap.

Fitted with the interchangeability system, the watch also comes with a “large square scale” alligator strap for a touch of elegance. Blending technical performance with a refined aesthetic, this Royal Oak Concept Flying Tourbillon limited edition will be available in February 2025.

The post A ROYAL OAK CONCEPT FLYING TOURBILLON LIMITED EDITION DESIGNED FOR THE MIDDLE EAST appeared first on Arab Watch Guide.

To mark the beginning of its 150th anniversary celebrations, Swiss Haute Horlogerie manufacturer Audemars Piguet is delighted to unveil a new generation of selfwinding perpetual calendar movement, Calibre 7138, which for the first time ever, enhances user comfort by making the corrections of all functions possible via its “all-in-one” crown. Looking to the future, the brand has rethought the perpetual calendar, which mechanically reproduces the movement of the celestial bodies, with ergonomics at its heart to adapt to evolving lifestyles and open up new technical and design avenues.

The result? An intuitive complication that revolutionises the perpetual calendar experience while improving legibility.

This new movement makes its debut on a 41 mm Code 11.59 by Audemars Piguet in 18-carat white gold, on two 41 mm Royal Oak models in a choice of stainless steel or 18-carat sand gold, and on three corresponding “anniversary” limited editions of 150 pieces, each featuring subtle aesthetic details that pay homage to the Manufacture’s
150 years of uncompromising craftsmanship.

Five years of development went into the creation of this horological feat, which is protected by five patents and offers new creative horizons.

“Astronomical watches have shaped Audemars Piguet’s world since 1875. To celebrate 150 years of remarkable craftsmanship and innovation, our watchmakers and engineers have put the user and their experience at the forefront of their agenda to create a new perpetual calendar that is both intuitive and easy to use. To this end, they invented a one-of- a-kind system that makes all corrections possible only using the crown – a true mechanical breakthrough that required the complete redesign of the movement. The magic lies in the watch’s seamless blend of technical complexity and simplicity of use.”
Ilaria Resta
Chief Executive Officer, Audemars Piguet

A COMPLICATION ROOTED IN THE UNIVERSE

Since ancient times, the sun has been our daily timekeeper, while the moon, observable stars and constellations have been our calendars. The rotation of these celestial bodies has served as the basis for the development of timekeeping instruments. Over time, horological devices evolved from sundials and water clocks to highly complicated mechanical clocks and portable watches.

The perpetual calendar saw the light of day in its earliest form in the 18th century. This astronomical complication, one of the most complex calendar watches in existence today, has a mechanical memory capable of mapping 48-month time cycles, automatically adjusting the varying number of days in each month, even during leap years.

This complex mechanism requires manual intervention only once every 100 years to keep it in sync with our solar time!1 Rooted in history and nature, this classic complication has captured the imagination of watchmakers for centuries, spurring them to develop ever-more complicated mechanisms to bring us closer to the universe and its cyclic rhythms.

ERGONOMIC AND INTUITIVE ALL-IN-ONE CROWN

Building on its heritage and past developments while looking to the future, Audemars Piguet has reimagined the perpetual calendar mechanism with ergonomics in mind to adapt this classic complication to an ever-more flexible lifestyle.

Traditional perpetual calendar wristwatches are usually equipped with correctors inserted in the side of the case, which are activated by using a small tool to adjust the various subdials.

This age-old system can make it cumbersome to set the watch, especially when left unwound for some time. To enhance user’s experience and streamline the design of the case, AP’s engineers have developed an easier and more intuitive correction system entirely controlled via the crown, to make this high complication adjustable anywhere without tools and without risk of damage.2

The new crown incorporates four different positions. The first enables to wind the watch clockwise. Pulling the crown out one step (position 2) allows to set the date clockwise and to adjust the month and the leap year in the opposite direction.

By pulling the crown out again (position 3), the user can set the time bidirectionally. The last position is reached by pushing the crown back one step (position 2’) to set the day and week clockwise and the moon phases counterclockwise.

The simplicity of the new crown correction conceals, however, a complex mechanism driven by an innovative lever and wandering wheels system that meshes with the different calendar wheels in the 2 and 2’ positions. This innovation is protected by two patents: one for the crown correction system with a 2’ position and one for the month and date correction via the crown.

A DIAL COMBINING LEGIBILITY WITH AESTHETIC HARMONY

The dial and subdials have been rearranged to enhance legibility, symmetry and aesthetic harmony. The dial now features a European date display, with the day at 9 o’clock, the date at 12 and the month at 3 o’clock. The week numbers are printed on the inner bezel as for previous perpetual calendar models. However, it is now the first week of the year (“1”) that appears at 12 o’clock (instead of week 52). In the same logic, “Monday” and “1” have been aligned at 12 o’clock in their respective subdial to mark the start of the week and the first day of the month. The dial also features a patented progressive step for the date display at 12 o’clock.

The AP teams developed a date wheel with 31 custom-made teeth, the size of which varies to adapt to the width of the digits and enhance readability.

To achieve perfect symmetry with the subdial at 3 o’clock, which indicates the month and leap year, a 24-hour indicator has been inserted in the day subdial at 9 o’clock. In addition, a no-correction zone is marked in red between 21 h and 3 h to show when the watch cannot be set. However, if the user attempts to set the watch during this time, the date might not be corrected, but there is no risk of damaging the movement in the process.

The moon phase, which displays a realistic depiction of the moon based on a NASA photograph, remains at 6 o’clock as for previous references. However, the full moon is now centred on the 12 o’clock axis to strengthen the dial’s overall harmony.

A CALIBRE BLENDING TRADITION WITH INNOVATION

Audemars Piguet’s new in-house perpetual calendar movement combines state-of-the-art R&D technology with age-old horological expertise. Calibre 7138 automatically takes into account the number of days in the month and correctly displays the date and week even in leap years. Assuming the watch is kept fully wound, the date will not require manual correction until the year 2100, when it will need to be adjusted to stay in line with the Gregorian calendar.3

With selfwinding Calibre 7121 as its base, it beats at a frequency of 4 Hz (28,800 vph) and offers a power reserve of minimum 55 hours. Calibre 7138 also builds on the patented innovations of Calibre 5133 launched in 2018 with the Royal Oak Selfwinding Perpetual Calendar Ultra-Thin RD#2, which incorporated all perpetual calendar functions in one single layer within the movement. The end-of-month cam is similarly integrated with the date wheel, while the month cam is combined with the month wheel. Crown corrections form a second layer, enabling the movement to keep a thin 4.1 mm profile. Calibre 7138 is decorated with refined Haute Horlogerie decorations, including Côtes de Genève, satin-brushing, circular graining and satin, snailing as well as chamfering, all visible on the caseback side.

“Calibre 7138 represents a major innovation in the design of perpetual calendars.

By placing ergonomics at the heart of our research and development, we have created a unique correction mechanism that allows all adjustments to be made via the crown.

In addition to making this high complication easy to use, we also worked on the overall aesthetics to combine high legibility with timeless refinement.”
Lucas Raggi
Research and Development Director, Audemars Piguet

ONE MOVEMENT THREE REFINED AESTHETICS

Calibre 7138 makes its debut with one Code 11.59 by Audemars Piguet and two Royal Oak models, all available in 41 mm. The absence of correctors on the side of the case reinforces the refinement of the three models as well as their water resistance, which has been increased to 50 m for the Royal Oak models and 30 m for the Code 11.59 by Audemars Piguet compared to the previous perpetual calendar models offered in the two collections (20 m). The new 41 mm Code 11.59 by Audemars Piguet timepiece continues the collection’s seamless blend of technical modernity and ancestral craftsmanship.

It features an 18-carat white gold case, whose multi-layered architecture is highlighted by the Manufacture’s alternation of satin-brushing and polished chamfers that play with the light. It is enhanced by the collection’s signature embossed dial in smoked blue PVD shades. The pattern is made up of concentric circles that ripple outwards from the centre of the dial and is decorated with hundreds of tiny holes that give it light, depth and character.

This motif, which made its debut in the collection in 2023, was created in collaboration with Swiss guilloché artisan
Yann von Kaenel, who hand-engraved the basic stamps.

The dial is complemented by 18-carat white gold luminescent hands, white gold hour-markers and white calendar indications for an elegant two-tone design. The timepiece is fitted on a blue rubber-coated strap with calfskin lining matching the hue of the dial, decorated with a textile motif for a contemporary twist.

The first Royal Oak model also offers a two-tone aesthetic. It combines a stainless steel case and bracelet with a blue PVD Grande Tapisserie dial with matching subdials and inner bezel. The dial is enhanced by 18-carat white gold hands and hour-markers, all filled with luminescent material. White calendar indications on the inner bezel and subdials add the finishing touch.

The second Royal Oak timepiece presents a contemporary monochrome aesthetic with unique light effects. The case and bracelet are crafted in 18-carat sand gold, a precious alloy combining gold with copper and palladium, introduced in the Royal Oak collection in 2024. Hovering between white and pink gold, its colour changes according to the light, giving it a warm appearance.

The Manufacture’s trademark satin-finishing and polished chamfers on the bracelet and case accentuate the material’s chromatic variation. The timepiece is adorned with a Grande Tapisserie dial, subdials and inner bezel, all in the same sand gold shade, obtained by galvanic treatment. The 18-carat white gold hands and hour-markers with luminescent material add a touch of refinement, while the black calendar indications printed on the subdials and inner bezel provide a subtle contrast. The three models have a sapphire caseback that reveals the refined aesthetic of Calibre 7138.

The openworked oscillating weight in 22-carat pink gold and the barrel bridge visible from 12 to 3 o’clock stand out against the other rhodium-toned components of the movement.

THREE “ANNIVERSARY” LIMITED EDITIONS

To celebrate the Manufacture’s 150 years, the three models presented above are also available in a limited “anniversary” edition of 150 pieces each. While their aesthetics are identical to those of the collection models, the three limited editions feature subtle design codes specially conceived for the celebration.

These include a vintage “Audemars Piguet” signature inspired by historical documents, inserted in the moon-phase subdial at 6 o’clock.

The three limited editions also incorporate two additional engravings on the sapphire caseback frame: the “150” logo, created for the occasion, and “1 of 150 pieces.”

“Astronomy is the mother of watchmaking. The history of time measurement began with the observation of the sky and the development of calendars to regulate our societies in days, months and years. Calendar watches have evolved over time to capture the cycles of celestial bodies with a combination of small cams and gears. Among them, the perpetual calendar – one of the most complex in this category – is like a small mechanical computer on the wrist capable of keeping the date correct for an entire century. Perpetual calendars have marked the history of Audemars Piguet since 1875.”
Sébastian Vivas
Heritage and Museum Director, Audemars Piguet

150 YEARS OF INNOVATION

Astronomical watches are deeply rooted in the Vallée de Joux’s watchmaking legacy, as watchmakers have always drawn inspiration from the region’s clear night sky. Audemars Piguet’s uninterrupted history of astronomical complications started with the two founders’ school pocket watches, both completed around 1875.

The one attributed to Jules Louis Audemars (AP Heritage Collection, Inv. 8), which combined a perpetual calendar with a quarter repeater mechanism and a rare independent deadbeat seconds, saw several evolutions at the company’s workbenches over the following twenty years.

Yet, during the company’s first two decades, calendar complications accounted for less than 10% of its total production. Its first complete calendar wristwatch was put into production in 1921 and sold three years later to the renowned retailer Gübelin. From 1921 to 1970, 188 complete calendar wristwatches were produced – a small part of the Manufacture’s total production during these years.

In 1955, the company released the world’s first perpetual calendar wristwatch with leap year indication, nine examples of which were created between 1955 and 1957.

The brand broke another record in 1978 at the height of the quartz crisis with the world’s thinnest selfwinding perpetual calendar wristwatch of its time, Calibre 2120/2800.

Conceived in secret by three watchmakers, this ground-breaking perpetual calendar movement achieved its extra-thinness (3.95 mm) by using the ultra-thin Calibre 2120 (2.45 mm thick),4 launched in 1967, as its base. Over the next 18 years, more than 7,000 movements were produced, cased and sold, ushering in a new era of growth for the brand and paving the way for the revival of classical complications. In 1984, this calibre powered the first Royal Oak Perpetual Calendar (39 mm in diameter), Model 5554, soon followed by other references in the collection.

Launched in 2015, Calibre 5134 adapted the perpetual calendar movement to a larger 41 mm case diameter, while maintaining a thin profile of 4.3 mm.

It was first housed in a new Royal Oak model with a dynamic aesthetic, bringing renewed attention to this classic complication, which had been in decline since the end of the 20th century.

This revival was confirmed in 2017 with the release of the Royal Oak Perpetual Calendar 26579CE in black ceramic, which caused a sensation. This calibre powered numerous perpetual calendar wristwatches across the Manufacture’s collection until 2024, when it retired. It was last featured on the Royal Oak Perpetual Calendar “John Mayer” Limited Edition, bringing down the curtain on a story that began in 1978.

In 2018, the Manufacture opened yet another chapter in its history of perpetual calendar timepieces with the launch of the revolutionary 41 mm Royal Oak Selfwinding Perpetual Calendar Ultra-Thin, known as RD#2 – the world’s thinnest automatic perpetual calendar wristwatch of its time.

This 6.3 mm-thick watch houses Calibre 5133, an ultra-thin movement measuring just 2.89 mm in height, which was fully redesigned to incorporate all the perpetual calendar functions on one single level, heralding a new generation of astronomical watches.

Building on the patented inventions that made RD#2 possible, Calibre 7138 pushes the limits of feasibility once more by offering an intuitive, user-friendly complication that can be set and corrected anywhere, without tools. An ergonomic complication that opens up new horizons for Audemars Piguet in terms of both technology and aesthetics.

The post A NEW GENERATION OF PERPETUAL CALENDAR MOVEMENT appeared first on Arab Watch Guide.

Fully crafted in titanium, the timepiece is imbued with the aesthetic DNA of the New York-based artist, who has placed a miniature COMPANION at the very heart of the watch, and features an innovative peripheral time display.

BRINGING TOGETHER CULTURE AND CREATIVITY

The collaboration with the artist KAWS reinforces Audemars Piguet’s curiosity and ongoing dialogue with the cultural world. KAWS’ early “ad intervention” work paved the way for his cast of characters, including COMPANION, which have served as experimental platforms to push the boundaries of what is possible in terms of shape, material and size – a strong link to both Audemars Piguet’s free-spirited mindset and the groundbreaking nature of the Royal Oak Concept collection in particular.

As part of this collaboration, we have pushed our limits in terms of watchmaking technology to create a spectacular setting with the character at the centre, surrounded by a brand-new hour and minute display system housed in the periphery of the movement.

Lucas Raggi, Research and Development Director, Audemars Piguet

INSPIRED BY KAWS’ AESTHETICS

The 43 mm Royal Oak Concept Tourbillon “COMPANION” incorporates KAWS’ aesthetic on both sides of the watch. In a nod to KAWS’ dissected series, the chest of the COMPANION reveals its beating heart, the watch’s tourbillon. The miniatiure 3D character is entirely made of titanium and is mounted on the titanium dial plate decorated with a sunburst motif. Its alternating satin-brushed and sandblasted finishes add texture and depth, while accentuating its rounded silhouette.

PUSHING TIME TO THE SIDE

To ensure an unobstructed view of the miniature COMPANION on the dial side, time has literally been pushed to the side by using a peripheral time display that offers new aesthetic possibilities for both movement and dial designs. The hour and minute hands rotate around the periphery of the movement and dial, thanks to two visible, superimposed gear wheels driven by pinions and guided by rollers.

A LATEST-GENERATION TOURBILLON MOVEMENT

This limited edition is powered by the new hand-wound peripheral hour and minute movement, Calibre 2979, which gives pride of place to the tourbillon on the dial side at 6 o’clock. This delicate, high-end complication reduces the effects of gravity on the watch’s accuracy.

A LIMITED EDITION KAWS FIGURE

On the occasion of KAWS:HOLIDAY Le Brassus, KAWS has created a limited-edition, 18-inch-high walnut sculpture of COMPANION, sitting atop the iconic Audemars Piguet’s headquarters. A symbol of the artist’s and the Manufacture’s commitment to meticulous craftsmanship.

The post AP X KAWS WELCOMES A ‘COMPANION’ appeared first on Arab Watch Guide.

A BRIGHT AESTHETIC FOR THE ROYAL OAK PERPETUAL CALENDAR ULTRA-THIN
This special edition of the Royal Oak Perpetual Calendar Ultra-Thin combines titanium with Bulk Metallic Glass (BMG), a first for this complication. Used for the bezel, caseback frame and bracelet studs, the BMG developed by Audemars Piguet is palladium-based, granting it high resistance to wear and corrosion as well as enhanced brilliance. Its mirror-polished surfaces offer a striking contrast with the satin-brushed titanium case and bracelet links, highlighting the Manufacture’s distinctive finishing techniques and plays of light. Finished with a smoked effect, the vertically-brushed ivory dial is decorated with Hindu-Arabic numerals, white gold hands and rhodium subdials at 3, 6 and 9 o’clock indicating the month, the date and the day. For the occasion, the moon-phase indication at 12 o’clock has been harmonised with the design.

Powered by the ultra-thin selfwinding movement, Calibre 5133, this reference blends aesthetic refinement with state-of-the-art technology. First launched in 2018 with RD2, the patented 2.9 mm-thick movement combines all the perpetual calendar functions in a single plane instead of three, paving the way for a new generation of ultra-thin watches at Audemars Piguet. The special rhodium-toned oscillating weight displays an arabesque motif inspired by a pattern observed in the Middle East and can be admired from the sapphire crystal on the caseback.

THE ROYAL OAK DOUBLE BALANCE WHEEL OPENWORKED IN WHITE CERAMIC
This special edition of the 41 mm Royal Oak Double Balance Wheel Openworked features, for the first time, a case and bracelet entirely crafted in white ceramic. The blue aventurine inner bezel – another novelty for Audemars Piguet – contrasts with the monochromatic look, while elegantly framing the rhodium-toned openworked movement. On the dial side, the white gold hour-markers and blackened Royal Oak hands with luminescent material further the contrasted aesthetic while offering optimum visibility in the dark. Equipped with a double balance wheel mechanism, patented by Audemars Piguet in 2016, the selfwinding Calibre 3132 incorporates two balance wheels and two hairpsrings assembled on the same axis that oscillate in perfect synchrony and grant the watch enhanced precision and stability. Seamlessly matching the tones of the movement, the rhodium-toned oscillating weight can be seen through the sapphire caseback.

A PLAY OF MATERIALS FOR THE CODE 11.59 BY AUDEMARS PIGUET SELFWINDING FLYING TOURBILLON
This elegant 41 mm Code 11.59 by Audemars Piguet Selfwinding Flying Tourbillon combines black ceramic with a stainless steel case for a sporty two-tone aesthetic. Crafted from meteorite, the dial presents a one-of-a-kind stratified pattern blending depth and texture, making each timepiece truly unique. The grey inner bezel extends the dial’s harmonious hues, while refined rhodium-toned pink-gold Hindu-Arabic numerals and baton hour-markers complete the sophisticated aesthetic. Considered today as a symbol of horological art that only a few skilled watchmakers master, the hand-finished flying tourbillon at 6 o’clock reduces the effect of gravity on the watch and enhances accuracy. Calibre 2950, the first selfwinding movement pairing a flying tourbillon with a central rotor, is visible from the sapphire caseback along with the Manufacture’s trademark finishing techniques. The grey rubber-coated strap complements the tones of this reference.

The post AUDEMARS PIGUET REVEALS A SERIES OF NEW COLLABORATIVE TIMEPIECES DESIGNED FOR THE MIDDLE EAST appeared first on Arab Watch Guide.

A VARIETY OF TONES FOR A ROBUST DESIGN

The three models are driven by the rebellious and daring spirit of the Royal Oak Offshore collection, which plays with materials and breaks the codes of traditional watchmaking. Combining stainless steel with black ceramic or 18-carat gold with coloured rubber, these new models share a powerful aesthetic highlighted by sharp contrasts.

Developped specially for the smaller wrists, the first selfwinding reference is executed in 18-carat pink gold and measures 37 mm in diameter. Its gold bezel is coated with grey rubber, emphasising the collection’s sportive identity. Matching these hues, the guilloché Grande Tapisserie dial in rhodium and ivory tones is polished for a glowing effect. The pink gold hour-markers and trapezoidal hands with luminescent material complete the colour palette, while the grey inner bezel echoes the rubber-coated bezel and mosaic rubber strap. Equipped with the interchangeability system, this timepiece comes with an additional black mosaic rubber strap for enhanced contrast.

The second Selfwinding model features a 43 mm case in stainless steel, contrasted by a blue rubber-coated bezel matching the strap. The two-tone aesthetic continues onto the smoked blue Méga Tapisserie dial, which takes centre stage in this three-hands and date format. The trapezoidal hour-markers and Royal Oak hands in rhodium-toned gold with luminescent material offer optimum readability in the dark. The dial is completed by a blue inner bezel and the AP monogram in polished rhodium-toned gold at 12 o’clock. This model can also be styled with an additional black rubber strap.The last novelty is a 43 mm stainless steel Royal Oak Offshore Selfwinding Chronograph inaugurating a matching steel bezel with the crown and push-pieces in black ceramic. Inspired by Habanos, this timepiece features a smoked bronze Méga Tapisserie dial whose darkened edges extend to the black inner bezel, where the tachymeter is printed in white. Similarly, the counters at 9, 6 and 3 o’clock echo the ceramic and inner bezel to enhance readability. The dial is completed with luminescent trapezoidal hour-markers and hands in blackened gold. Fitted on a brown alligator strap with an Oxford hand-finished patina, this model is equipped with the interchangeability system and comes with an additional black rubber strap for a sporty aesthetic.

Whether in pink gold, stainless steel or ceramic, the case components of these three new models are adorned with the Manufacture’s trademark satin-brushed and polished hand-finishing for a constant play of light that underlines the sturdy architecture of the Royal Oak Offshore collection.

CUTTING-EDGE PERFORMANCE

The three new models are equipped with cutting-edge selfwinding movements that combine refined elegance with robustness and performance, ideal for an adventurous lifestyle.

Made for smaller wrists, the 37 mm Royal Oak Offshore Selfwinding reference is equipped with Calibre 5900, the Manufacture’s latest automatic movement indicating hours, minutes, seconds and date, first released in 2022. Only 3.9 mm thick, it operates at a high frequency of 4 Hz and has a 60-hour power reserve, making it ideal for contemporary use.

The Royal Oak Offshore Selfwinding model in 43 mm is powered by Calibre 4302. Its patented mechanism provides precision and stability when setting the watch, while its generous 32 mm diameter contributes to improving the chronometry. Beating at a frequency of 4 Hz, this movement offers a 70-hour power reserve.

Finally, the 43 mm Royal Oak Offshore Selfwinding Chronograph beats to the rhythm of Calibre 4401, the Manufacture’s latest integrated chronograph. This movement features a column wheel with a vertical clutch system to activate, stop and reset the chronograph – a device renowned for its isochronism and its ability to reduce start-up jumps. The result of hundreds of hours of work, Calibre 4401 offers a unique combination of complications for Audemars Piguet, which has paired a jumping hour with the flyback chronograph. The flyback system enables to take several new measurements in a row, swiftly and easily, by restarting the chronograph without interrupting or resetting it first.

All three high-performance movements can be admired through the saphire caseback, revealing the collection’s signature oscillating weight in blackened 22-carat pink gold, along with the components’ refined decorations such as Côtes de Genève, vertical, circular and sunray brushing, circular graining and polished chamfers.

The post AUDEMARS PIGUET PRESENTS THREE NEW ROYAL OAK OFFSHORE MODELS appeared first on Arab Watch Guide.

The Mini Royal Oak is back with three 23 mm models in 18-carat yellow, white or pink gold.

Inspired by the Manufacture’s rich history of miniature and jewellery watches, this trio of petite watches offers a creative and contemporary interpretation of the 20 mm Mini Royal Oak launched in 1997 by rethinking the proportions, architecture, design and performance of the smallest Royal Oak ever made.

“FROSTED”
JEWELLERY AESTHETIC

The Royal Oak Mini models combine the strong geometry of the original Royal Oak designed by Gérald Genta in 1972, with the delicacy and refinement of the Frosted Gold, which gives the case and bracelet a powerful shimmer.

The jewellery aesthetic of these dainty creations continues on the dial. The tone-on-tone Petite Tapisserie enhances the play of light created by the Frosted Gold. The luminous dial is complemented by facetted gold hour-markers that match with the colour of the case and are filled with luminescent material for optimum visibility in the dark.

These mini creations pay tribute not only to Audemars Piguet’s long tradition of miniature and jewellery watches, but also to the women who have left their mark on the history of the brand, including Jacqueline Dimier to whom we owe the first Royal Oak for women, and Carolina Bucci, the mastermind behind the Frosted Gold finish.

Ilaria Resta

Chief Executive Officer, Audemars Piguet

POWERED BY QUARTZ

The Royal Oak Mini Frosted Gold models are powered by the quartz movement, Calibre 2730, one of the best in class for watches of this size. With a battery life of over seven years, this movement is ideal for a contemporary lifestyle. In addition, Calibre 2730 is equipped with a “switch”: by simply pulling on the crown, the wearer can temporarily deactivate the battery. In keeping with the tradition of Haute Horlogerie, this quartz mechanism is finished with refined decorations.

Small, charming, creative, almost frivolous, the new Royal Oak Mini watches revive a feminine myth born in 1997. They demonstrate the extraordinary plasticity of the Royal Oak collection, which transcends decades, gender, trends and dimensions.

Sébastian Vivas

Heritage and Museum Director, Audemars Piguet

MINI WATCHES
WITH A MIGHTY LEGACY

Since the 19th century, Audemars Piguet has created an array of small watches for women that have provided the brand with a platform to push the boundaries of miniaturisation, gemsetting and aesthetic refinement. From timeless classic and jewellery pieces to avant-garde artistic creations, these timepieces reflect the technical and aesthetic challenges of their respective eras, often anticipating the evolving tastes and expectations of their female clientele.

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ALL DRESSED IN FROSTED YELLOW GOLD
The new Royal Oak Frosted Gold Selfwinding model features a 37 mm 18-carat yellow gold case and matching bracelet that have been entirely decorated with a hammered finish, giving the gold a sparkling effect. This decoration, renamed Frosted Gold by Audemars Piguet, is inspired by an age-old jewellery technique that originated in Florence. Reinterpreted by jewellery designer Carolina Bucci, this precision finish has been used on the Royal Oak collection since 2016. Tiny marks are chiseled into the surface of the gold using a diamond-tipped tool that gives the gold a shimmering effect.

This finish, combined with the polished chamfers and satin-finished surfaces of the case and bracelet, highlights the watch’s aesthetic codes while providing a captivating play on the light, which is further enhanced by the yellow gold. This material, which is appreciated by numerous watch enthusiasts, first appeared on a Royal Oak in 1977. Gradually eclipsed by pink gold in the 2000s, it made a comeback in 2018 and has been attracting attention ever since.

A DIAL OF MANY CONTRASTS
The golden dial matches the yellow gold of the case, further reinforcing the luminous aesthetic of the timepiece. This warm hue is obtained using a galvanic bath and is accentuated by the dial’s sunburst finish.

After colouring, a smoked effect is added to the dial with the application of a black spray varnish that creates a striking contrast with the yellow gold. The spraying is done entirely by hand with a tool similar to a pen, and requires great skill and dexterity to ensure a precise and refined finish. The smoked gradient is sprayed from the edge of the dial towards the centre and out again. The result is a darker hue around the periphery, which gets lighter towards the centre, without any visible line.

The facetted yellow gold hour-markers and Royal Oak hands are enriched with luminescent material for optimal legibility in the dark. They also stand out against the smoked gold dial. The seconds scale and the “Swiss Made” mention are printed in white around the outside of the dial, creating a clear visual contrast with the darker part of the smoked dial. The date appears in black against a gold background at 3 o’clock, ensuring visual consistency with the rest of the dial. Lastly, the 24-carat gold “Audemars Piguet” logo, obtained by galvanic growth, has been electroplated with black rhodium and positioned at 12 o’clock.

“The combination of this sunny, precious, yellow gold with the hammered decorative finish creates an incredible sparkle and play on the light. Add to this a smoked golden dial with a sunburst finish and the numerous nuances and depth provide a rich visual contrast.”

Sofia Candeias
Product Director

A MOVEMENT COMBINING REFINEMENT AND PERFORMANCE
The Royal Oak Frosted Gold Selfwinding is equipped with Calibre 5900, the Manufacture’s latest selfwinding hour, minute, seconds, and date movement, which first appeared in 2022 on certain 37 mm models.

This movement combines a slim 3.9 mm thickness, a high 4Hz frequency and a 60-hour power reserve. The mechanism is visible through the sapphire caseback, which reveals the 22-carat pink gold oscillating weight and the refined decoration on the components, such as polished angles, vertical satin brushing, Côtes de Genève, circular graining, sunray finishing and chamfering.

The post AUDEMARS PIGUET UNVEILS A NEW 37 MM ROYAL OAK FROSTED GOLD SELFWINDING MODEL IN YELLOW GOLD appeared first on Arab Watch Guide.

A CUTTING-EDGE MANUFACTURING PROCESS
Driven by the desire to push the boundaries of Haute Horlogerie, the Manufacture is committed to innovating constantly to offer its clients an ever-wider range of choices. The chroma ceramic has been made possible by the latest Spark Plasma Sintering (SPS) technology, which significantly reduces the sintering time from several hours to just a few dozen minutes.

To create this multi-coloured camouflage motif, powders of different coloured ceramics are carefully placed in a circular graphite mould. The mould is then sintered using a powerful electric current that is conducted through the graphite. This current generates a meteoric rise in temperature, which, combined with the mechanical pressure on either side of the mould, allows extremely rapid sintering, giving rise to a ceramic disc.

This process requires great skill on the part of the teams, who have gone through numerous tests before achieving the desired result. The compression of the ceramic powders during the sintering cycle makes each piece unique, as the pattern varies slightly each time. Despite these variations in pattern, this technique ensures visual consistency between the different ceramic components. In addition, each disc produced can be used to create a case or a bezel, reinforcing the unique aspect of the material. As each colour reacts differently, the risk of breakage or cracking during the rapid firing and cooling phases is multiplied, making the process very delicate.

The resulting discs, which are extremely hard, are then machined until the desired shape is achieved. Each component is then pre-polished and pre-satin-brushed before being meticulously hand-finished to obtain the Manufacture’s trademark alternation of satin finishing and polished chamfers.

CONSTANT RESEACH INTO INNOVATIVE MATERIALS
Throughout its history, Audemars Piguet has combined a variety of materials and developed avant-garde and sometimes disruptive aesthetics. This boundless creativity reflects the pioneering and free spirit that the Manufacture has preserved and nurtured for generations. It is thanks to the meticulous work of artisans that materials such as steel, titanium, carbon or ceramic have been ennobled and given a place in the world of watchmaking.

In addition to the launch of the iconoclastic Royal Oak (5402ST) in 1972, with its steel armour featuring high-end finishes hitherto reserved for gold, Audemars Piguet has used a wide range of materials over time. Since its launch, the Royal Oak Offshore collection has kept introducing numerous materials, including titanium in 1998, forged carbon in 2004 and ceramic in 2008 – a material already used in the Bamboo collection in the late 1980s. The Royal Oak Concept took the search for materials even further when it was launched in 2002 with a case combining titanium and Alacrite 602, a light and extremely resistant high-tech alloy. In 2008, the Royal Oak Carbon Concept Tourbillon and Chronograph saw the light of day, marking a new milestone in avant-garde design. In 2023, Audemars Piguet introduced a precious form of Bulk Metallic Glass (BMG) in its catalogue with its Royal Oak “Jumbo” Extra-Thin model (ref. 16202XT), a first in the watchmaking industry.

With the chroma ceramic – a first for Audemars Piguet and the watchmaking industry as a whole – the Manufacture is expanding the range of possibilities in terms of material combinations, personalisation and design, heralding a colourful future.

“Our first multi-coloured ceramic, the result of our materials research, opens up a whole new field of creative possibilities for years to come. We look forward to its debut in our collections.”

Lucas Raggi
Research and Development Director, Audemars Piguet

The post AUDEMARS PIGUET’S R&D LAB UNVEILS A NEW INNOVATIVE CERAMIC IN PREVIEW appeared first on Arab Watch Guide.

A BEAUTIFUL BLEND OF GREY TONES
The Royal Oak “Jumbo” Ultra-Thin Openworked model (16204) pays tribute to the aesthetics of the first Royal Oak from 1972, characterised by its sporty look and stainless steel body. Today, this new openworked model boasts a case and bracelet crafted entirely from 18-carat white gold. The edges of the bezel, the case and each link of the bracelet are mirror polished, while their other surfaces are vertically satin-finished, thus creating alternating matt and shiny finishes—Audemars Piguet’s signature design.

The movement has been treated in different shades of anthracite grey that contrast with the colour of the case to highlight the meticulous openwork.

To provide optimum legibility, the watch’s inner bezel is slightly darker than the movement. It is complemented by white gold hour-markers that offer a subtle contrast with the treatment applied to the Calibre 7124. This theme is repeated on the back, with a rhodium-toned gold oscillating weight, which has also been finished with alternating polished and satin finishes. The oscillating weight is also openworked to reveal the details of the movement and the timepiece has a 57-hour power reserve.

THE CALIBRE 7124, THE RESULT OF EXTENSIVE KNOW-HOW
Employed by Audemars Piguet for almost a century (since the 1930s), openwork consists of removing as much material as possible from each component without compromising the movement’s performance. Each component of Calibre 7124 is thus visible in the light, which enables the wearer to admire the details of the barrel, escapement and gear train.
The Calibre 7124 is specially developed to fit inside the 8.1 mm thick “Jumbo” case, without compromising on its slenderness or design, attesting to the expertise dear to Audemars Piguet. Using advanced production technologies, the shapes of the main plate and bridges are cut out using CNC (computer numerical control) machines, before being honed to the desired shape. Each component is then decorated using ancestral techniques. The polished interior angles can be admired on either side of the movement and are a perfect reflection of the meticulous hand-work that goes into achieving this level of precision.
Openworking is thus one of the most demanding exercises for Audemars Piguet’s decoration workshops. An openworked movement multiplies the number of inner angles – 247 on this movement – links and edges. Each inner angle is painstakingly finished by hand. The alternating polished and satin finishes therefore continue across the movement and all its parts.

“JUMBO” AND THE ART OF OPENWORKING
Over the decades, the Royal Oak collection has grown to include some 50 openworked models, equipped with different movements and available in a variety of sizes, materials and styles.

Although openwork first appeared in the Royal Oak collection in 1981 in the form of a pendant (Model 5710BA), it really found its place in the collection during the 1990s, a decade marked by the proliferation of Royal Oak openworked models.

The first openworked “Jumbo” was launched in 1992. This model (Ref. 14811) was notable for its dial adorned with an oak motif, which celebrated the launch of the Audemars Piguet Foundation dedicated to forest preservation. This timepiece was auctioned off to raise funds for projects supported by the Foundation. Until the year 2000, numerous other openworked “Jumbo” models, equipped with the extra-thin Calibre 2120, were created in small series. While some were adorned with gemsetting, others featured ultra-stylish designs.

Openworking made a comeback in the “Jumbo” collection in 2010 with Model 15305, equipped with the selfwinding Calibre 3129, which was only 4.31 mm thick. The movement’s galvanic treatment contrasted elegantly with the stainless steel case. Two years later, to mark the 40th anniversary of the Royal Oak, the Manufacture revealed an anthracite openworked limited edition in 950 platinum that was powered by the Calibre 5122. An 18-carat pink gold version followed in 2014. The Royal Oak “Jumbo” Extra-Thin Openworked model reappeared in 2022 to celebrate the 50th anniversary of the collection. Today, this new addition in white gold completes the range with an aesthetic that is both sober and refined.

The post AUDEMARS PIGUET UNVEILS A NEW VARIATION OF ITS WHITE GOLD ROYAL OAK “JUMBO” EXTRA-THIN OPENWORKED appeared first on Arab Watch Guide.

NEW AESTHETIC DETAILS
This new Royal Oak Offshore Selfwinding introduces a host of aesthetic details, starting with the 43 mm stainless steel case fitted with a blue rubber-coated bezel and a matching rubber strap. The sporty, two-tone aesthetic continues onto the smoked blue Méga Tapisserie dial, which takes centre stage in this hours, minutes, seconds and date format. The dial is adorned with rhodium-toned gold trapezoidal-shaped hour-markers and Royal Oak hands, which have been enhanced with a luminescent coating for optimum visibility, a blue inner bezel, and an AP monogram in polished rhodium-toned gold at 12 o’clock. Other details to note are redesigned crown guards and satin-finished studs that operate the interchangeable strap system. This model also comes with an additional black rubber strap to change style.

SELFWINDING CALIBRE 4302
Powered by the Manufacture Calibre 4302, this Royal Oak Offshore Selfwinding 43 mm is equipped with a patented mechanism that provides stability and precision when setting the watch. The chronometry is further enhanced by the generous 32 mm diameter of the movement. Beating to the rhythm of 4 Hz and with a 70-hour power reserve, the Calibre 4302 is fitted the Manufacture’s signature blackened 22-carat pink gold oscillating weight that can be admired through the sapphire crystal caseback along with the refined decorations adorning the movement, including Côtes de Genève, vertical, circular and sunray brushing, circular graining and polished chamfers.

The post AUDEMARS PIGUET UNVEILS A NEW ROYAL OAK OFFSHORE SELFWINDING 43 MM appeared first on Arab Watch Guide.

WARM SHADES OF PINK
The latest 34 mm Royal Oak Selfwinding model is offered with a case and bracelet entirely crafted in 18-carat pink gold. Finished with the Manufacture’s trademark alternation of satin-brushing and polished chamfers, the case and bracelet components foreground the warm hues of the pink gold alloy, while offering endless plays of light.

The timepiece comes with a Grande Tapisserie dial showcasing a new vivid pink colour obtained by atomic layer deposition (ALD). It is enhanced by pink gold applied hour-markers and hands, filled with luminescent material for optimum legibility in the dark, as well as a corresponding applied gold “Audemars Piguet” signature at 12 o’clock. The window at 3 o’clock provides the date in black on a pink background matching the colour of the dial. The minute scale and the Swiss Made indication at 6 o’clock are similarly printed in black on the pink Tapisserie.

TWO-TONE ELEGANCE
The second timepiece interweaves stainless steel with 18-carat pink gold, providing the watch with a contemporary two-tone aesthetic. While the case middle, caseback and bracelet links are made in steel, the bezel, crown and bracelet studs are crafted in pink gold for a powerful contrast. The AP folding clasp, crafted in stainless steel, is similarly highlighted with a touch of pink gold. The different bracelet and case components are meticulously finished with satin brushing and polished chamfers, an alternation of finishes that plays with the light.

The dial also displays a two-tone design with its grey PVD-coated Grande Tapisserie motif illuminated with pink gold accents. The hour-markers, the hands and the “Audemars Piguet” signature, which has been achieved through galvanic growth, are all crafted in pink gold. To enhance visibility in dim light, the applied hour-markers as well as the minute and hour hands are filled with a white luminescent material that turns green in the dark. Lastly, the minute track and “Swiss Made” indication are subtly printed in white on the Tapisserie’s extremity, while the date appears in white on a similar grey background at 3 o’clock.

REFINED SELFWINDING MOVEMENT
The two new 34 mm Royal Oak timepieces are powered by selfwinding Calibre 5800. This 4mm-thick mechanical movement beats at a frequency of 4 Hz and has 50 hours of power reserve. The sapphire casebacks reveal the collection’s dedicated 22-carat pink gold oscillating weight, as well as the refined finishing decorating the movement, including Côtes de Genève, satin and sunray brushing, circular graining and polished chamfers.

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TWO VARIATIONS OF THE SAME MODEL
Although conceived in different materials, these new Royal Oak Selfwinding Flying Tourbillon models in 41 mm share several of the collection’s aesthetic codes.
The stainless steel or 18-carat pink gold case and bracelet are finished with satin-brushed surfaces and polished chamfers for an endless play on the light. Offering optimum ergonomics, the first links of the tapering bracelet present a decreasing thickness, while the caseback is slightly embedded in the case middle to better sit on the wrist.
On the dial side, the golden or rhodium-toned applied gold “Audemars Piguet” signature, obtained through galvanic growth, is visible at 12 o’clock. It is complemented by facetted gold hour-markers and Royal Oak hands, all enhanced by luminescent material for optimum legibility in the dark.

A CAPTIVATING SMOKED BURGUNDY DIAL
The first of these two new models is entirely crafted in stainless steel for a sportier look. The grey of the steel is contrasted by a smoked burgundy dial. This vivid shade is achieved by applying a translucent tinted lacquer after decorating the dial with a sunburst finish to accentuate the colour’s radiance. Although simple in appearance, the combination of these finishes required extreme dexterity to fulfil the Manufacture’s exacting standards.

Matching with the watch’s body of stainless steel and contrasting with the burgundy dial, the applied hour-markers and Royal Oak hands are crafted in 18-carat white gold for optimum legibility. They respond harmoniously to the flying tourbillon cage at 6 o’clock that reveals some of the movement’s rhodium-toned components as it completes its full rotation in 60 seconds, reducing the effect of gravity on the watch’s accuracy.

WARM PINK GOLD AND IVORY HUES
The second model presents a refined 18-carat pink gold case and bracelet, a precious material also found on the hour-markers and Royal Oak hands, all enhanced by luminescent material.
The timepiece is complemented by a two-tone dial, offering a soft visual contrast. The centre of the dial displays a grey hue, achieved by galvanic deposition, while its sandblasting finishing adds a fine texture. The dial rim has an ivory colour, playing subtly with the watch’s grey and pink gold shades.

A REFINED FLYING TOURBILLON
Audemars Piguet launched its first flying tourbillon wristwatch in 2018 in the Royal Oak Concept collection. Today, these new Royal Oak models are powered by Calibre 2950, a selfwinding movement which combines a flying tourbillon with a central rotor. Measuring 6.2 mm in thickness, this mechanism operates at a 3 Hz frequency and has a power reserve of 65 hours.

Visible on both sides of the watch, the hand-finished flying tourbillon cage offers an unobstructed view of some of the watch’s regulating components. The sapphire caseback reveals the 22-carat pink gold oscillating weight – rhodium toned for the steel version – while highlighting the movement’s refined decorations including Côtes de Genève, satin and sunray brushing, circular graining and hand-polished chamfers.

Blending technical performance with refined aesthetic, these Royal Oak Selfwinding Flying Tourbillon references reflect the brand’s age-old expertise, while offering varied and contemporary designs.

The post THE ROYAL OAK SELFWINDING FLYING TOURBILLON PRESENTS NEW DIAL AESTHETICS appeared first on Arab Watch Guide.

A LUMINOUS GOLDEN DIAL

The new model features a yellow gold-toned dial with a smoked gradation that creates depth, while intensifying the shimmer of the Grande Tapisserie. This signature pattern, formed of truncated pyramids, is first guilloché into the brass of the dial and then plated with 18-carat yellow gold in a galvanic bath. The smoked effect is achieved by spraying a black varnish from the edge of the dial towards the centre, which is lighter. This operation is done by hand using a tool similar to a stylus and requires skill and dexterity to ensure a precise and subtle application.
The three gold-toned counters – the hour counter at 3 o’clock, the small seconds at 6 o’clock and the 30-minute counter at 9 o’clock – stand out against the gradient dial. The applied hour-markers, as well as the central hands – all crafted in 18-carat yellow gold and facetted – are highlighted with luminescent material. The minute scale is printed in white on the flat edge of the dial, whose black peripheral colour contrasts with the yellow gold-toned inner bezel. The 24-carat gold “Audemars Piguet” signature, obtained by galvanic growth and electroplated with black rhodium, is affixed at 12 o’clock. An aperture between 4 and 5 o’clock completes the information on the dial by displaying the date in black on a yellow gold-toned background.

A ROYAL OAK ALL IN YELLOW GOLD

Historically, the first Royal Oak model in yellow gold from 1977 (ref. 8638) was destined to women and designed by Jacqueline Dimier – then head of the design office and creator of the women’s Royal Oak launched in 1976. At the time, the demand for yellow gold models was growing and both the Royal Oak “Jumbo” model (ref. 5402) and the 35 mm “Royal Oak III” (ref. 4100) also welcomed a yellow gold version (BA). This material has been eclipsed by pink gold since the 2000s, before regaining popularity more recently.
The new Royal Oak Selfwinding Chronograph, launched in 2024, is crafted entirely in 18-carat yellow gold, from the case to the bracelet. The upper surface of the octagonal bezel is satin finished while the bevel is mirror-polished. The polished hexagonal heads of the eight screws are the only white gold elements on the case, standing out against the satin-brushed yellow gold. These contrasting finishes are also found on the crown and chronograph push-pieces. Similarly, the alternation of finely satin-brushed surfaces and polished chamfers creates reflections throughout the case and on the links of the integrated bracelet.

“Yellow gold is a sublime material – bright and precious. The iconic lines and finishes of the Royal Oak, combined with the gradient yellow gold-toned dial, allowed us to create subtle contrasts while enhancing both the yellow gold itself and the design of the watch.”

Sofia Candeias
Product Director, Audemars Piguet

THE INTEGRATED CHRONOGRAPH CALIBRE 4401

The 41 mm Royal Oak Selfwinding Chronograph in 18-carat yellow gold is powered by the Calibre 4401, the Manufacture’s latest integrated chronograph. This movement features a column wheel with a vertical clutch system to activate, stop and reset the chronograph – a device renowned for its isochronism and its ability to reduce start-up jumps. The result of hundreds of hours of work, the Calibre 4401 also represents a new combination of complications for Audemars Piguet, featuring a jumping hour together with an integrated flyback chronograph mechanism. The flyback system enables to take several new measurements in a row, swiftly and easily, as the chronograph can be restarted without being interrupted or reset first. The collection’s dedicated 22-carat pink gold oscillating weight is visible through the sapphire caseback, along with the traditional decorations adorning the movement.

The post A NEW ROYAL OAK SELFWINDING CHRONOGRAPH IN YELLOW GOLD HUES appeared first on Arab Watch Guide.

A FINE CASE ENGAGING WITH LIGHT
The new 37 mm timepiece encompasses an extra-thin 18-carat white gold case and bracelet providing rich plays of light. Both are finished with the Manufacture’s trademark alternation of satin brushing and polished chamfers, thus engaging with the light like the facets of a diamond. In addition, the wide polished bevels of the case and the tapering links of the bracelet bestow it with a slender silhouette, while reinforcing its ergonomics. The 32 baguette-cut diamonds adorning the bezel furthers the luminous effect created by the watch’s multifaceted architecture.

Measuring 8.1 mm in thickness, this new timepiece is the thinnest gold model offered in the 37 mm Royal Oak collection. It owes its finesse to the Royal Oak “Jumbo” that inspired the aesthetic of the RD#3 line, debuted in 2022 for the Royal Oak’s 50th anniversary. For the occasion, Audemars Piguet took on the challenge to fit a flying tourbillon movement in a 39 mm “Jumbo” case—a first as this complication was previously equipping models in 41 mm exclusively. It also pushed the limits of feasibility further by presenting this complication in an even smaller 37 mm case size, which also incorporated the Royal Oak collection’s design evolution introduced on 34, 37 and 38 mm models that same year.

AN EXPRESSIVE SMOKED BLUE DIAL
Just like the 37 mm steel RD#3 version, the new Royal Oak Selfwinding Flying Tourbillon Extra-Thin integrates several aesthetic elements of the “Jumbo” dial. Similarly to 39 mm models, it encompasses a Petite Tapisserie, offered in a new smoked blue colourway. The blue shade is obtained by Physical Vapour Deposition (PVD), whereas the smoked effect seen on the periphery is achieved by meticulously spraying black varnish while the dial is rotating. The colour gradation evolving from the centre outwards accentuates the moiré effect of the guilloché pattern.

The dial’s deep blue hues are countered by bright accents. Baguette-cut diamond hour-markers echo the glowing bezel, while playing with the Royal Oak’s strong lines and multiple facets. The bathtub-shaped white gold hands—reminiscent of the original Royal Oak—are filled with luminescent material aiding legibility in dim light. At 6 o’clock, the titanium flying tourbillon cage, in which pulsates the rhodium-toned balance wheel, adds the final touch.

AN ULTRA-THIN FLYING TOURBILLON MOVEMENT
The timepiece is powered by the ultra-thin selfwinding flying tourbillon movement, Calibre 2968, measuring a mere 3.4 mm in thickness, which saw the light of day in 2022. This delicate, high-end complication counteracts the effects of gravity on the watch’s accuracy. The balance wheel and escapement are housed in a tiny rotating cage that completes a revolution every minute to prevent their centre of gravity from staying in the same orientation. Contrary to its tourbillon sibling, the flying tourbillon cage is only supported from below to leave the watch’s beating heart unobscured on the dial side. It is considered today as a symbol of watchmaking art as only a few expert watchmakers retain the skills required for its production.

Calibre 2968 was developed to fit in the exact dimensions of the iconic 39 mm Royal Oak “Jumbo” case—a first as this complication was previously reserved for 41 mm diameters—before being housed in an even smaller 37 mm case. This technical constraint required the Manufacture to rethink the totality of the flying tourbillon cage to reduce its thickness while retaining its initial proportions. In addition to repositioning several components, the teams included a new escapement to drive the titanium cage peripherally, improving energy distribution to the tourbillon, while lightening and refining this regulating organ. In addition, the new escapement relies on an oscillator with increased amplitude that pushes the amplitude limit at which knocking happens—a state which occurs when excessive energy from the escapement is transferred to the oscillator—and enhances reliability, energy efficiency and precision.

Calibre 2968 was also conceived from an aesthetic standpoint. On the caseback side, the rhodium-toned bridges are openworked to unveil the movement’s inner workings, while achieving a harmonious, symmetrical architecture. On the dial side, the geometry and positioning of the balance wheel arms have been modified to make the beating heart even more perceptible. The technical design of the movement results in the flying tourbillon being placed at dial level, for a greater visual experience.

The decoration of the movement components, visible through the sapphire caseback, combines the dynamism and classicism of V-angles with the modernity of traits tirés – a finish that appears on the mainplate and bridges and replaces the traditional Côtes de Genève. The caseback also reveals the rhodium-toned 22-carat pink gold oscillating weight that winds the calibre with each movement of the wrist.

The post AUDEMARS PIGUET UNVEILS A NEW 37 MM ROYAL OAK SELFWINDING FLYING TOURBILLON EXTRA-THIN (RD#3) appeared first on Arab Watch Guide.

NEW ELEGANT LOOKS
The 18-carat pink gold Royal Oak Selfwinding model is paved with 164 brilliant-cut diamonds (~ 1.618 carats) on the case, bracelet studs and AP folding clasp, while the bezel sparkles with 40 graded brilliant-cut blue sapphires (~ 1.05 carats) for a refined contrast. The play of light conferred by the gemstones is accentuated by the Grande Tapisserie dial mirroring the colour of the sapphires in a shade of light blue. The timepiece comes with a matching light blue pearly alligator strap with large square scales, completing this elegant pastel aesthetic.

The 18-carat white gold version encompasses a case, bezel, bracelet studs and AP folding clasp fully set with 204 brilliant-cut diamonds (~ 2.538 carats) for a unique shimmering effect. The timepiece incorporates a Grande Tapisserie dial in a light green hue and a corresponding pearly alligator strap with large square scales.

Both timepieces feature two hour-markers at 12 o’clock set with 8 brilliant-cut diamonds (~0.019 carats). The other gold hour-markers match with the case colour and are filled with luminescent coating for optimum visibility in dim light. The gold applied “Audemars Piguet” signature, obtained through galvanic growth, is fitted on a cartouche below the double hour-markers at 12 o’clock.

The case of each timepiece is meticulously finished with the Manufacture’s trademark alternation of satin brushing and polished chamfers, conferring endless plays of light while highlighting the Royal Oak’s multi-facetted architecture.

CALIBRE 5900
Both timepieces are powered by the latest generation Calibre 5900 that indicates the hours, minutes, centre seconds and date. The 3.9mm-thick movement combines a high 4 Hz frequency and a 60-hour power reserve. The movement is also equipped with a 22-carat pink gold oscillating weight and is decorated with refined finishing including polished angles, vertical satin brushing, Côtes de Genève, circular graining, sunray brushing and chamfering that can all be admired through the sapphire caseback.

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A NEW SHADE OF GOLD

The new 41 mm Royal Oak Selfwinding Flying Tourbillon Openworked premieres the use of sand gold at Audemars Piguet. This 18-carat gold alloy, named after sand dunes in the sunlight, combines gold with copper and palladium for a warm rendering. Wavering between white and pink gold, it offers subtle colour variations depending on the light. In addition, it provides resistance to discolouration over time, making it both a durable and timeless material.

The sand gold case and bracelet are finished with the Manufacture’s trademark alternation of satin brushing and polished chamfers. The large mirror-polished bevels of the octagonal bezel and the chamfers adorning every link and stud of the tapering bracelet accentuate the play of light conferred by this precious material.

To match the case and bracelet, the Manufacture has developed a sand-gold-toned hue, obtained through galvanic treatment, to adorn the inner bezel as well as the openworked bridges and mainplate of Calibre 2972, visible on both sides of the watch. The openworked components have been finished horizontally and vertically to accentuate the movement’s depth, while the brushed and polished angles enhance the play of light.

The sand-gold-toned bridges and mainplate are contrasted with touches of grey. The rhodium-toned barrel, geartrain and flying tourbillon at 6 o’clock are complemented by white gold hour-markers and hands, all filled with luminescent material. To give pride of place to the movement’s openworked architecture, the “Audemars Piguet” signature has been printed in black on the glareproofed sapphire crystal at 12 o’clock.

On the caseback side, the rhodium-toned 22-carat pink gold oscillating weight furthers the two-tone aesthetic of the openworked movement.

AN OPENWORKED MOVEMENT WITH A THREE-DIMENSIONAL ARCHITECTURE

First released in 2022 for the Royal Oak’s 50th anniversary, Calibre 2972 combines a selfwinding mechanism with a flying tourbillon. Its highly stylised and multilayered openworked architecture has been conceived to offer symmetry while bestowing the watch with a unique 3D effect.

This movement builds on the age-old openworking techniques that have been reshaping what is possible with wristwatch design since the 1930s. The beauty and finesse of the mechanism are revealed by removing as much material from the mainplate and bridges as possible to let light pass through, without impairing its functions. Leveraging advanced manufacturing technologies, the preliminary geometries of the mainplate and bridges have been cut through computer numerical control (CNC) machining, before being perfected by electric discharge machining (EDM). This manufacturing process enables the removal of small amounts of material with extreme precision to reach the desired shape.

The geometrical openworked bridges and mainplate have been decorated with horizontal and vertical hand-finishing, accentuating depth and play of light. In addition, the other movement components present refined Haute Horlogerie decorations including satin, circular and sunray brushing, snailing, as well as polished chamfers. The polished V-angles that can be admired on both sides of the watch reflect the meticulous handiwork that went into their realisation as this level of craftsmanship can only be achieved by hand.

A LEGACY OF GOLD WATCHES

A noble metal par excellence, gold has been revered over time for its rarity, value, aesthetic quality, durability and technical properties. In addition to being resistant to corrosion, oxidation and discolouration, gold is a biocompatible and malleable material easier to work than other metals. Its softness and workability have made it ideal for the fabrication of jewellery, watches and other intricate decorative objects. Symbols of wealth and prestige, these gold creations have been decorated with artisanal techniques ranging from engraving and enamelling to gemsetting, among many others.

In jewellery and watchmaking, pure gold (24 carats) has often been combined with different metals such as copper, silver and palladium to create stronger and more resistant alloys, each endowed with its own colour, hardness and technical properties. As most players in the industry, Audemars Piguet principally works with 18-carat gold alloys when it comes to the external parts of its watches. With their composition (75% gold, 25% other metals), 18-carat gold alloys are more durable than pure gold, as the addition of metals makes them harder and more resistant to deformation. Yet, their high amount of gold confers them a deeper and richer colour than lower carat alloys. Note, however, that before the 1950s, alloys were defined more freely, leading to great variation in terms of composition and colour. In other words, two 18-carat “yellow gold” watches often did not have the same yellow hue. The increasing need to reach uniformity across the watchmaking sector led the “Normes Industrielles de l’Horlogerie Suisse” to establish composition standards in 1966 for 18-carat gold alloys, which stabilised their colours in turn.

Gold alloys, in all their creative variations, have played an important role at Audemars Piguet since the inception of the company. Out of the 567 complicated wristwatches that were cased-up and delivered by the Manufacture between 1882 and 1969, 432 were made in gold (248 in yellow gold, 68 in white gold, 41 in pink gold, 32 in green gold and 43 with no N-specified colour).

In the 1970s, at a time when yellow gold still dominated the world of luxury watches, Audemars Piguet started experimenting with stainless steel, a more contemporary material, to anticipate changing and more active lifestyles. The Royal Oak (Model 5402) released in 1972 marked a turning point for the Haute Horlogerie industry, its body of hand-finished stainless steel and exuberant price tag placing it on the par with gold watches. Gold models came to complement the original steel timepiece four years after its launch and contributed to establishing the Royal Oak as a collection.

The first Royal Oak model to incorporate gold was the Royal Oak II (Model 8638), the 29 mm women’s version designed by Jacqueline Dimier, which was first released in stainless steel in 1976. A year later, this timepiece was reinterpreted in a two-tone design combining yellow gold with stainless steel and in a full yellow gold version, followed in 1978 by a very limited white gold iteration. In 1977, the Manufacture also released its first 39 mm 5402 Royal Oak models in yellow gold, white gold and in a two-tone combination, as well as a new 35 mm intermediate size, Model 4100, available in steel, yellow gold and two-tone. From 1979, nearly three-quarters of the Royal Oak watches were partially or entirely made of gold—a precious material that has remained a staple of the collection to this day even when the price of gold soared in the 1980s.

Less common at the time, pink gold appeared in the Royal Oak collection in the mid-1980s and slowly gained ground across the Manufacture’s collections. In the 2000s, the demand for yellow gold watches faded in favour of models in pink gold, whose subtle, yet warm hues conquered the hearts. Today, pink, white and yellow gold are commonly used throughout the watchmaking industry, alongside other proprietary 18-carat alloys, including Everose Gold (Rolex), Sedna Gold and Moonshine™ Gold (Omega), King Gold and Magic Gold (Hublot) as well as Hard Gold (IWC).
The new Royal Oak Selfwinding Flying Tourbillon Openworked in sand gold builds on this longstanding legacy of gold watches while continuing Audemars Piguet’s material exploration and diversification. Coming alive in the light thanks to the alloy’s ever-changing colour, it offers new aesthetic possibilities merging contemporary design with endless elegance.

“With sand gold, Audemars Piguet is reviving the creative approach to gold alloys and colours that prevailed for thousands of years until the 1960s.”

Sébastian Vivas
Heritage and Museum Director, Audemars Piguet

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SEVEN REFERENCES, ONE AESTHETIC
The new Code 11.59 by Audemars Piguet models feature the collection’s design evolution that was first introduced on the stainless steel references in 2023. The “signature” embossed dial pattern was specially created for the collection and replaced the previous dials that were more sober in design. Conceived by the Audemars Piguet design team in collaboration with Swiss guilloché craftsman Yann von Kaenel, this decoration enhances legibility and the play on the light.

Meticulously engraved by hand, the base dies used to strike the dials feature a pattern of concentric circles like ripples on the surface of water. These circles are adorned with hundreds of tiny holes that play with the light. The dials are then coloured using a PVD (Physical Vapour Deposition) or galvanic process to preserve and enhance the contours revealed during the stamping process. A myriad of details come together in this magical dial that is a testament to local talent and craftsmanship.

Emphasising comfort and legibility, these seven new reverences feature elongated, flattened, facetted and polished 18-carat pink gold hour-markers that are enhanced with a luminescent material for optimal readability in the dark. Furthermore, the typography of the seconds scale, the shape of the crown and the signature buckle have been slightly adapted, reinforcing the modern style of the timepieces in line with the design introduced in 2023.

TWO NEW VARIATIONS FOR SLIMMER WRISTS
Among the new range of models, two 38 mm Code 11.59 by Audemars Piguet Selfwinding references join the first two pieces launched in October 2023.

These two references in 18-carat pink gold come in radically opposed shades of blue, creating an elegant contrast with the precious metal of the case. The first model features luminous light blue tones that spread across the dial, date window, inner bezel and strap, giving the piece a harmonious design. The second reference features the iconic “Bleu Nuit, Nuage 50” colour introduced on the first Royal Oak (Model 5402). This dark blue hue is illuminated here with several pink gold details that bring depth to the piece.

The contemporary cases feature the same meticulous and refined finishes as seen on the Manufacture’s calibres with alternating polished and satin-finished surfaces, underlining their multifaceted architecture. Both models are fitted with large-scale squares alligator straps that match the colour of the dials. It is also possible to opt for a textured rubber strap in light or dark blue.

A RANGE OF SELFWINDING MODELS AND SELFWINDING CHRONOGRAPHS
The Manufacture is introducing five new variations in a 41 mm diameter, including two Selfwinding models and three Selfwinding Chronographs.

A bewitching shade of green adorns the dial of the first Code 11.59 by Audemars Piguet Selfwinding model. The contrast with the pink gold details and the play on the light created by the dial motif reveal the full richness of this green colour, which continues onto the inner bezel and the strap. This selfwinding hours, minutes, seconds and date model is accompanied by a Selfwinding Chronograph in the same colour. The 9 and 3 o’clock counters are also coloured in the same green and come with a gold outer zone, while the 6 o’clock counter appears entirely in green.

The “Bleu Nuit, Nuage 50” shade is featured on two 41 mm models. The Code 11.59 by Audemars Piguet Selfwinding timepiece features a dial in a uniform tone to match the strap, which is contrasted by a subtle grey inner bezel. The corresponding Code 11.59 by Audemars Piguet Selfwinding Chronograph presents a dial with two blue counters framed in grey at 9 and 3 o’clock, and an all-grey counter at 6 o’clock echoing the colour of the inner bezel. Highlighting the deep colour of the dial, the straps on both models are made of textured dark-blue rubber.

Playing with contrasts, the fifth reference combines 18-carat pink gold case elements with an octagonal black ceramic case middle and crown. This alliance of light and shadow continues onto the black dial, which is surrounded by a matching inner bezel, on which the hands, hour-markers, counter contours and Audemars Piguet signature stand out in gold tones. In keeping with the rest of the range, the small seconds counter at 6 o’clock is entirely in black, as is the strap.

“These new models follow the different evolutions that the collection has seen in 2023. In addition to the new signature decoration now appearing on certain 41 mm gold models, the 38 mm line has now been enriched with new references and original colours, enabling the Code 11.59 by Audemars Piguet to be worn on all types of wrists, illustrating its extreme versatility as well as its contemporary spirit.”

Sofia Candeias
Product Director, Audemars Piguet

LATEST GENERATION MOVEMENTS
These new references are powered by latest-generation movements. Combining technical precision, reliability, ergonomics and refined finishes, these movements have been designed by Audemars Piguet’s engineers and watchmakers for contemporary lifestyles.

The two 38 mm selfwinding models are equipped with the Calibre 5900. Introduced on some 37 mm Royal Oak models in 2022, this movement combines thinness (3.9 mm), high frequency (4Hz) and a 60-hour power reserve.

The 41 mm timepieces are powered by the Calibre 4302 – hours, minutes, seconds and a date display – and the Calibre 4401, an integrated selfwinding chronograph with a column wheel and flyback function. Both movements are equipped with a patented mechanism that provides stability and precision when setting the watch. With their generous 32 mm diameter, they ensure enhanced chronometry. Calibre 4401 is also equipped with a vertical gear system that prevents the hands from jumping when the chronograph is activated or stopped. A patented reset mechanism ensures that each counter hand returns to its original position.

The sapphire crystal caseback reveals a 22-carat pink gold oscillating weight dedicated to the collection, as well as the Haute Horlogerie decorations that adorn the components of these three movements, such as polished angles, vertical satin-finishing, Côtes de Genève, circular graining and chamfering.

FIVE YEARS OF AESTHETIC AND TECHNICAL EVOLUTION
Launched in 2019, the Code 11.59 by Audemars Piguet collection introduced 13 references and three new calibres at the same time, ranging from a Selfwinding model to a Selfwinding Chronograph, not to mention a Minute Repeater Supersonnerie, a Tourbillon and a Perpetual Calendar. The diversity of models illustrates the versatility of the collection from the outset, while laying the foundations of its aesthetic codes: an octagonal case middle integrated between a caseback and an extra-thin round bezel; a double-curved sapphire crystal offering a rare visual experience; stylised lugs whose top is welded to the bezel, while the bottom rests in perfect symmetry on the caseback; dials ranging from refined, lacquered versions to aventurine ones adorned with Arabic numerals and elegant hands; and finally, a logo in relief created by a galvanic growth process. Designed in white or pink gold, the Code 11.59 by Audemars Piguet cases are among the most complex made by the Manufacture.

Since its inception, the collection has focused on complications that blend harmoniously into a technically geometrical case. Over the years, new prestigious complications have been added, including the Grande Sonnerie Carillon Supersonnerie (2020) and the Flying Tourbillon Chronograph (2021). In December 2022, the Manufacture added the Starwheel, one of the most iconic display complications. The return of the wandering hours complication to the brand’s catalogue was followed in February 2023 by the launch of the Code 11.59 by Audemars Piguet Ultra-Complication Universelle RD#4, the most complicated timepiece ever produced by the Manufacture. Powered by the Calibre 1000, with 40 functions of which there are 23 complications, this 42 mm horological feat pushed the boundaries in terms of ergonomics and user-friendliness, opening up new avenues, not only for Audemars Piguet, but for the watchmaking sector as a whole.

In 2020, the Code 11.59 by Audemars Piguet case featured, for the very first time, a two-tone design in white gold with a pink gold case middle, reinforcing the contrast between its complex architecture and contemporary allure. The Code 11.59 by Audemars Piguet Selfwinding Chronograph then paved the way for the first models featuring a ceramic case middle, such as the Code 11.59 by Audemars Piguet Flying Tourbillon Openworked model unveiled in 2022, which combined an 18-carat white gold case with an electric blue ceramic case middle. This evolution pushed the complexity of the Code 11.59 by Audemars Piguet even further, as the finishing of the ceramic and the perfect alignment of the various angular and round surfaces required the most meticulous craftsmanship. In 2023, the collection welcomed its first 41 mm Selfwinding and Selfwinding Chronograph models in stainless steel. The arrival of this new, sportier material opened up new possibilities for the Code 11.59 by Audemars Piguet.

Not only has the case undergone material upgrades, but the dial has too. In 2020, the dials of the new Code 11.59 by Audemars Piguet range came alive with a new palette of colours along with sunburst and smoked finishes, giving them depth and mystery. Creativity also continued in the trilogy of unique Code 11.59 by Audemars Piguet Grande Sonnerie Carillon Supersonnerie timepieces, which over the years, have been adorned with enamel dials created in collaboration with the Swiss enamel artist Anita Porchet. In 2022, the collection was enriched with selfwinding models set with diamonds, which adorned the dial, case middle and lugs. Natural stone dials also made an appearance the same year, with the Code 11.59 by Audemars Piguet Flying Tourbillon model that featured a minimalist black onyx dial. Finally, in 2023, the collection welcomed its first models in green enamelled aventurine, as well as its first sapphire dials, revealing the watchmaking technique of the Minute Repeater Supersonnerie movements.

In 2023, the collection underwent an aesthetic evolution that accompanied the launch of the first stainless steel models. For the occasion, a new dial design was unveiled with a new embossed motif, hour-markers that replaced the previous Arabic numerals and a redesigned crown. In the second half of the year, a new 38 mm diameter made its appearance, providing an alternative for slender wrists. These different evolutions contribute to making the Code 11.59 by Audemars Piguet a collection that is focused on ergonomics and adapts to all wrists for every occasion.

Today, with the arrival of these seven new 38 and 41 mm models in pink gold, the Code 11.59 by Audemars Piguet collection continues to thrive and confirms its versatility in terms of design and watchmaking savoir-faire.

The post FIVE YEARS AFTER ITS LAUNCH, THE CODE 11.59 BY AUDEMARS PIGUET COLLECTION WELCOMES SEVEN NEW MODELS IN PINK GOLD appeared first on Arab Watch Guide.

A HARMONIOUS AESTHETIC BETWEEN HISTORY AND ETERNITY

Audemars Piguet’s collaboration with seven-time GRAMMY® Award-winning artist, and fervent watch collector, John Mayer continues the enriching dialogues the brand has nurtured over the years with talented individuals, whose creative vision has led to the creation of micro-mechanical wonders blending technical complexity with distinctive designs. A long-lasting friend of the brand, John Mayer lent his collector’s eye and his taste for precision and aesthetic beauty to the Royal Oak Perpetual Calendar. He proposed a highly contemporary design that seamlessly evokes the timelessness and refinement at the heart of the perpetual calendar, while bringing the instantly recognisable aesthetic codes of the Royal Oak to the fore. With its cosmic air, the Royal Oak Perpetual Calendar “John Mayer” Limited Edition puts Calibre 5134 in the history books, while opening up new aesthetic horizons for the Royal Oak collection as a whole.

John Mayer worked hand in hand with the AP teams to design a picturesque “Crystal Sky” dial, whose texture and vastness lend depth to a complication that has shaped the world of Audemars Piguet since its beginnings. Each detail harmoniously combines to give the timepiece a sense of infinity. The brass dial plate is finished with a new scintillating pattern developed by Audemars Piguet’s artisans to give life to John Mayer’s vision. The embossed motif is composed of irregular shapes resembling crystals, whose sharp angles and facets add relief and brilliance to the piece. To achieve this level of detail and complexity, the stamping die was created atom by atom, through a metal deposition process known as electroforming.

“My favourite watches have dials that you can stare endlessly at. A great watch dial feels like a picture window – you look into it, not at it. In the case of this QP, it’s like looking up at a moonless sky. There is a true sense of nature in it. And when you couple that sense of depth and vastness with the complication of a perpetual calendar, it is a very powerful combination of technical prowess and aesthetic design.”

John Mayer
American singer, songwriter and guitarist

“John’s love of complicated watches combined with his creativity made this an organic and fun collaboration. He wholeheartedly delved into the intricate design details of the dial, so there is a moment of discovery each time the watch is worn, which gives us a glimpse of infinity.”

Ilaria Resta
Audemars Piguet’s Chief Executive Officer

For this limited edition, the new motif has been created in a deep blue shade using Physical Vapour Deposition (PVD), a technique that preserves and enhances the depth of the pattern, while maximising the play of light. The textured dial is complemented by subdials in a matching blue PVD colour that display the day at 9 o’clock, the month and leap year at 12 o’clock and the date at 3 o’clock. To provide visual contrast, the calendar indications are printed in white on the blue outer zones of the subdials, while the weeks appear in white on the dial’s blue outer ring. Similarly, the 18-carat white gold hour-markers and hands stand out against the blue background, their luminescent material making them even more visible in dim light.

To enhance legibility and aesthetic harmony, John Mayer has brought subtle modifications to the perpetual calendar display that only become apparent on closer inspection. While the number “31” of the date subdial is usually red on modern Royal Oak Perpetual Calendar models, it is now printed in white. Also, the two numerals of the “31” are now smaller in size and slightly stepped to distinguish them from the adjacent “1”. In addition, John Mayer chose a light blue colour for the week indicator that “could fall back into the dial when simply reading the time but easily be found when looking to read the week complication,” as he explains.

The laser-microstructured moon phase indicator at 6 o’clock, which is set against an aventurine background, completes the dial’s overall design. For the first time, the “Swiss Made” inscription is printed in white at the bottom of the moon phase subdial rather than on the dial’s outer edge at 6 o’clock – another subtle visual distinction only noticeable on closer look.

The refined dial is framed in 18-carat white gold, a precious material prized by collectors. The case and bracelet are both meticulously finished with the Manufacture’s alternation of satin brushing and polished chamfers. The polished bevels on the bezel and bracelet links enhance the play of light created by the Royal Oak’s multifaceted architecture. Lastly, the white gold frame of the sapphire caseback is engraved with “Royal Oak Quantieme Perpetuel” and “Limited Edition of 200 Pieces.”

A FINAL TRIBUTE TO A HISTORIC CALIBRE
Audemars Piguet is committed to evolving its calibres, combining age-old skills with cutting-edge techniques. Following this mindset, the Royal Oak Perpetual Calendar “John Mayer” Limited Edition is the last limited edition equipped with the selfwinding perpetual calendar movement, Calibre 5134, bringing down the curtain on a history that began in 1978.

At the height of the quartz crisis, Audemars Piguet released, against all odds, the thinnest selfwinding perpetual calendar wristwatch of its time equipped with the Calibre 2120/2800. Conceived in secret by three dedicated watchmakers, this ground-breaking perpetual calendar movement achieved its extra-thinness (3.95 mm) by using the ultra-thin Calibre 2120 (2.45 mm thick), launched in 1967, as its base. Over the next 18 years, more than 7,000 movements were produced, cased, and sold, ushering in a new era of growth for Audemars Piguet and paving the way for the revival of other classic complications, including the openworked chronograph (1980), the first selfwinding tourbillon wristwatch (1986), the minute repeater (1992) and the Grande Complication (1996). In 1984, this calibre powered the first Royal Oak Perpetual Calendar, Model 5554, soon followed by other references in the collection.

Launched in 2015, the Calibre 5134 adapted the perpetual calendar movement to a larger 41 mm case diameter (Model 26574), while maintaining a thin profile with a thickness of 4.3 mm. Unveiled on the first Royal Oak Perpetual Calendar in 41 mm (ref. 26574)—a model that also featured a new dynamic aesthetic—this movement brought renewed attention to this classic complication which had been in decline since the end of the 20th century. This revival was confirmed in 2017 with the release of the Royal Oak Perpetual Calendar 26579CE in black ceramic, which caused a sensation. This calibre has powered numerous perpetual calendar wristwatches across the Manufacture’s collection ever since.

Calibre 5134 automatically takes into account the number of days in the month and correctly displays the prevailing date even in leap years. Assuming the watch is kept fully wound, the date will not require manual correction until 2100, at which point it will need to be adjusted to stay in line with the Gregorian calendar. It beats at a frequency of 2.75 Hz (19,800 vibrations/hour) and has 40 hours of power reserve.

The watch’s sapphire caseback reveals the movement’s refined decorations that include Côtes de Genève, circular graining, circular satin and polished chamfers. The rhodium-toned 22-carat pink gold openworked oscillating weight is further embellished with a stamped motif recalling the Manufacture’s iconic Tapisserie.

“The perpetual calendar is for me the ultimate complication, the benchmark for high horology, and though there are complications that are more complex, the historical footing of the QP in the history of watchmaking is what makes it stand out. Calibre 5134 will go down in history as one that defined an era of watch collecting – and public enthusiasm at large – for a complication that had not enjoyed that kind of attention and desire before.”

John Mayer
American singer, songwriter and guitarist

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AN ORIGINAL CONCEPT DEBUTED IN MILAN

Designed as a timeless space for lovers of the brand, the initial AP House concept was created in collaboration with some of the Manufacture’s most valued clients, imagining how brand founders Jules Louis Audemars and Edward Auguste Piguet would live in the 21^st century, travelling the world and sharing their passion for beautiful watches. The result is a sophisticated space, the AP House, where the comfort of home and human relationships take priority.

The first AP House debuted in Milan in 2017 with a conceptual space located on via Pietro Verri, strengthening the Manufacture’s presence in Italy, a market that has played a key role for the watch industry and for Audemars Piguet in particular, especially with the Royal Oak and the Royal Oak Offshore. Seven years after the launch of the very first AP House, Audemars Piguet takes this retail concept to the next level by opening a new space in the heart of the city to immerse watch lovers in the Audemars Piguet universe and offer them bespoke experiences.

The new AP House Milano joins the 19 existing locations situated in some of the most vibrant cities in the world, including Amsterdam, Bangkok, Barcelona, Hong Kong, London, Los Angeles, Madrid, Munich, New York, Shanghai, Tel Aviv, Tokyo and Zurich.

AN AP HOUSE PAYING TRIBUTE TO MILAN’S LANDMARK AND CULTURE

The new AP House Milano is located on the iconic Via Bagutta, just a few meters away from Piazza San Babila and the famous Montenapoleone fashion street. Revered for its architecture and culture, Via Bagutta was once home to many artists and intellectuals, including the playwright Carlo Goldoni and the writer Alessandro Manzoni.

The AP House is situated within the historic building of the ex-Garage Traversi, the city’s first multi-storey car park that operated from 1939 to 2003. Innovative for its time, Garage Traversi was designed by the architect Giuseppe De Min as part of the wider urban development project of Piazza San Babila. The rationalist-style building, characterised by its curved façades and steel-framed windows, was considered a remarkable example of architectural innovation with its car lift system. After being abandoned for many years, the building was fully renovated and transformed in recent years to become one of the city’s reference points for luxury shopping.

This centre of heritage and modernity, so dear to the locals, resonates with Audemars Piguet, which has always fostered dialogue with the wider cultural world to broaden its horizons, nourish its creativity and bring people together.

“The new AP House Milano brings a fresh and forward-thinking perspective to the initial AP House concept that started in Milan in 2017. It is an honour to open our new location in such a prestigious and iconic setting as the Garage Traversi, a location which reflects Audemars Piguet’s commitment to preserving and highlighting the local savoir-faire, past and present.”

Andrea Cardillo
Audemars Piguet Italy Country General Manager

AN INTERIOR DESIGN MERGING TRADITION WITH STATE-OF-THE-ART EXPERIENCE

With a surface area of over 1,600 m2 spread across the building’s 5th and 9th floors, the AP House will offer watch enthusiasts an unprecedented experience of the brand in an original concept that reflects the vibrant energy of Milan.

The AP House Milano was designed in collaboration with Lissoni & Partners, an architecture and interior design studio based in Milan and New York that combines a strong sense of rigor and simplicity with a keen attention to details, coherence, elegance and harmony. For this project, the studio drew inspiration from the natural environment of the Vallée de Joux, home to Audemars Piguet, incorporating various materials such as wood, glass and metal into the design, while giving the space a Milanese twist. Each of the five floors brings together the brand’s aesthetic codes with Milan’s design heritage.

On the ground floor, a modernist pattern recalling the brand’s iconic Petite Tapisserie guilloché motif, which debuted with the launch of the Royal Oak in 1972, immerses guests in the Manufacture’s world, while evoking the human connections and intricate savoir-faire at the heart of the brand. Playing on textures, contrasts and light, the entrance hall combines a lateral glass panel offering a myriad of optical illusions with a solid ebony wall reminiscent of the historic Milanese villas of the 1900s, setting the stage for this unique AP House concept at the junction of two worlds.

In addition to the traditional AP House lounge space, where visitors and guests can relax in a homely atmosphere, the new location includes a watch exhibition floor where contemporary and heritage timepieces live side by side in a futuristic display setting (visible or hidden on demand). The exhibition space is complemented by a selection of vintage furniture and design pieces made by famous Milanese designers such as Osvaldo Borsani, Franco Albini, Ettore Sottsass, Vico Magistretti and Achille Castiglioni. The AP House also includes an entire floor dedicated to servicing where visitors can admire the watchmakers at work and learn more about the Manufacture’s craftsmanship.

The various floors are linked by a spiral staircase – a nod to the mainspring of a watch. As the heart of the building, this staircase represents the space’s inextricable links between tradition and modernity, between Milan and Le Brassus.

Lastly, the AP House has a scenic rooftop with a breathtaking 360° view of Milan’s skyline and historical landmarks, including the Sforzesco Castle, the green dome of the church San Carlo al Corso and the “Madonnina,” the highest spire of the Duomo.

“Audemars Piguet gave me the alphabet of the project, outlining its various facets to imagine a hybrid space that could be at once a home and a club, a place to read books and enjoy culture and food. A place to discover watches, but not always and not only. Above all, a place inspired by Milan and its history. It is with this narrative in mind that I began to design this project.”

Piero Lissoni
Architect, Designer and Founder of Lissoni & Partners

A PLACE OF ENCOUNTER

Believing in the power of creativity to feed culture and connect people, Audemars Piguet fosters dialogue between creative fields. The brand’s long-standing affinity with the world of music, contemporary art, gastronomy and technology permeates the environment of the AP House Milano.

Contemporary artworks on display are graciously lent by Francesca Minini Gallery, a mainstay of the Milanese art scene since 2006 and a friend of the brand’s art commissioning programme, Audemars Piguet Contemporary. All selected artworks in the space underscore the AP House Milano and Audemars Piguet’s commitment to working with creative communities. In addition, the location features a curated vinyl station and a piano, whose music can be enjoyed throughout the various floors.

To offer guests a personalised and unique experience, the AP House Milano also puts cutting-edge technology at the service of hospitality. Visitors are invited to plunge into the virtual reality world developed by Audemars Piguet in partnership with Dreamscape Immersive, the world’s leading platform in this field. Entitled The Clockwork Forest, this immersive adventure takes participants into a magical forest, where technological complexity combines with the power of nature. With its blend of tradition and technology, the AP House Milano is the perfect setting for this immersive experience that continues to push the boundaries of customer experience.

Conceived as a space of encounter, the AP House Milano will ultimately provide a local platform to foster deeper relationships with clients and watch enthusiasts through experiences that highlight the Manufacture’s creations, its expertise and its place in today’s world.

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INSPIRING SYNERGIES

Believing in the power of creativity to feed culture, connect people and broaden horizons, Audemars Piguet has always looked to the larger world for inspiration. Over the years, the Manufacture has fostered enriching dialogues amongst fields of creative practice, including Haute Couture, with which it shares a strong commitment to uncompromising craftsmanship, precision and excellence.

In 2020, Audemars Piguet began its partnership with designer Tamara Ralph, pairing several of its watches with her Spring/Summer 2021 Prêt-à-Porter collection. Pursuing their enduring relationship, Audemars Piguet and Tamara Ralph have collaborated this year on the design of a Royal Oak Concept Flying Tourbillon limited edition inspired by Ralph’s Couture universe. The timepiece will be presented on 22 January 2024, during the designer’s runway show in Paris, which will highlight the two brands’ forward-thinking approach to craftsmanship, their seamless blend of ancestral expertise with modern techniques, as well as their distinctive creations that are at once objets d’art and vectors of emotion.

“My intention for the design of this piece is for it to capture the spirit and craftsmanship of both my brand as well as Audemars Piguet. The complications of watchmaking orchestrate a foundation which can be played with in terms of textures, colours and designs, allowing for the savoir-faire of couture to shine through. Rich materials, unique colour palettes and ultimate precision are combined, creating an exquisite limited edition of the Royal Oak Concept Flying Tourbillon, inspired by Haute Couture.”

Tamara Ralph
Creative Director and Founder of Tamara Ralph

“Tamara’s endless quest for perfection perfectly echoes our watchmakers’ dedication to pushing their craft to the limit. We are delighted to start 2024 in collaboration with such an inspiring woman and it is only the beginning!”

Ilaria Resta
Chief Executive Officer, Audemars Piguet
A REFINED PLAY OF TEXTURES AND LIGHT
The Royal Oak Concept Flying Tourbillon “Tamara Ralph” Limited Edition showcases an 18-carat pink gold case adorned with Frosted Gold. This ancient Florentine jewellery technique was revisited by jewellery designer Carolina Bucci and adapted by Audemars Piguet artisans in 2016 to decorate the Manufacture’s timepieces. Tiny indentations are created on the gold surface with a diamond-tipped tool, giving a sparkle effect similar to that of precious stones. Its visual power is accentuated by the polished bevel outlining the octagonal bezel, while the case’s satin-brushed flanks provide added contrast. The juxtaposition of finishing techniques—a meticulous operation which required perfect alignment between the hammered, brushed and polished surfaces—gives sumptuous texture to the case, while bestowing it with endless plays of light.

For its part, the caseback’s glareproofed sapphire crystal is held in place by an 18-carat pink gold octagonal frame, finished with satin brushing and polished chamfers and engraved with “Royal Oak Concept Limited Edition.”

Lastly, the hexagonal crown, whose shape recalls the stainless steel screws punctuating the bezel, also plays with light thanks to its satin-brushed and polished finishing. Its translucent cabochon-cut sapphire adds yet another touch of feminine elegance to the case design.

A HARMONY OF COLOURS AND LAYERS

The multi-layered dial takes inspiration from the bold femininity and textured detailing of Tamara Ralph’s Couture creations. It is composed of four overlapping circular pink gold plates, creating a ripple effect as they emanate from the flying tourbillon cage at 6 o’clock. Each layer presents a different colour, evolving from brown in the centre to bronze in the middle, to reach golden tones towards the dial’s extremity. While the brown and golden colours have been achieved through galvanic treatment, the bronze layer is covered with bronze lacquer. The dial is finished with a continuous sunburst satin-finishing radiating from the hands outwards, in seamless alignment from one plate to the other. Pushing details to the limit, each plate is adorned with a thin diamond-polished gold thread that adds depth to the dial.

Matching with the circular, multi-layered architecture of the dial, the flying tourbillon at 6 o’clock merges technical mastery with sophisticated aesthetic. The cage’s upper frame incorporates three rings radiating from a decentred disc paved with 19 brilliant-cut diamonds (~ 0.04 carats). Its pink-gold-toned hue echoes the 18-carat pink gold hour and minute hands, both filled with luminescent coating for optimum legibility in the dark. At 12 o’clock, the applied pink gold AP monogram adds the final touch. Hour-markers have been left out to accentuate the purity and harmony of the dial design.

The timepiece comes with a bronze-toned hand-stitched “large square scale” alligator strap. It is also supplied with an additional brown alligator strap recalling the centre of the dial for a refined look. The two straps are decorated with a pearly finishing adding subtle elegance and glamour. The timepiece’s glittering hues and intricate details will catch the eye from up close and afar, just like a Couture piece would.

INTO THE HEART OF HAUTE HORLOGERIE

Powered by the hand-wound Calibre 2964, this limited edition combines tradition with modernity. Its flying tourbillon, visible at 6 o’clock, gives a glimpse of the mechanism pulsating within. This delicate, high-end complication counteracts the effects of gravity on a watch’s accuracy. The balance wheel and escapement are mounted in a tiny rotating cage that completes a revolution every minute to prevent their centre of gravity from staying in the same orientation. Contrary to its tourbillon sibling, the flying tourbillon cage is only supported from below to leave the watch’s beating heart unobscured on the dial side. It is considered today as a symbol of watchmaking art as only a few expert watchmakers retain the skills required for its production.

Inspired by the dial’s circular, multi-layered aesthetic, the back bridges of the movement, which can be admired through the sapphire caseback, are decorated with five circles emanating from the back of the flying tourbillon cage while increasing in size as they progress towards the periphery. Their alternation of sandblasting and satin-brushing add texture and depth while subtly echoing the refined Frosted Gold finishing adorning the case. The sapphire caseback also reveals the sole bridge on which the flying tourbillon cage is fixed, while an additional opening discloses part of the geartrain. Design and movement development have merged once more to reach seamless harmony, inside and out; much like Couture.

“This timepiece is the feminine expression par excellence of the flying tourbillon, whose lightness, precision and elegance merge with a quality of execution that symbolises its values.”

Anne-Gaëlle Quinet
Head of Complications, Audemars Piguet

A POWERFUL LEGACY

The Royal Oak Concept saw the light of day in 2002 to celebrate the Royal Oak’s 30th anniversary. For the occasion, Audemars Piguet released a 150-piece limited edition inspired by Concept cars that combined titanium with Alacrite 602, a light yet highly resistant alloy mainly used in the aeronautical industry. While the bezel retained the Royal Oak’s trademark octagonal shape, the massive rounded 44 mm case, whose ergonomic curvature matched the natural shape of the wrist, brought this timepiece to new horizons. To complement the case’s futuristic aesthetic, the dial exposed the advanced hand-wound mechanism, while providing a variety of innovative functions.

Although originally conceived as a one-off limited edition, the Royal Oak Concept established an entirely new aesthetic for 21st-century Haute Horlogerie and led to the creation of a collection in 2008 following the release of the pioneering Royal Oak Carbon Concept Tourbillon and Chronograph. A platform of experimentation and innovation ever since, the Royal Oak Concept has seen the addition of unyielding materials, avant-garde designs and innovative complications attuned to the timepiece’s identity.

The first Royal Oak Concept for women joined the collection in 2018, premiering Audemars Piguet’s first flying tourbillon wristwatch. Two 38.5 mm timepieces in 18-carat white gold highlighted the collection’s disruptive aesthetic with an array of brilliant- or baguette-cut diamonds. This design was reinterpreted in 2021 with a series of timepieces playing with diamonds and coloured gemstones.

The Royal Oak Concept also welcomed a new women’s Flying Tourbillon model glittering with Frosted Gold in 2020 – the first in the collection. This timepiece was executed in a choice of 18-carat white or pink gold and complemented with a multi-layered dial in graded blue tones. Building on this design, the latest 18-carat pink gold Royal Oak Concept Flying Tourbillon “Tamara Ralph” Limited Edition merges the collection’s bold and powerful looks with the sophisticated luxury and fantasy of Tamara Ralph’s Haute Couture.

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AN EXCLUSIVE, LIMITED COLLECTION

As part of their collaboration, Cactus Jack and Audemars Piguet are happy to reveal a new Royal Oak Perpetual Calendar Openworked limited edition crafted in “chocolate” brown ceramic. For the occasion, the two brands also worked on a collection of clothing and accessories, including hoodies, T-shirts, jackets, pyjamas, shorts and caps, among others, sold exclusively online via shop.travisscott.com.
A part of the profits from the sale of this collection will be donated to a charity project or cause of Travis Scott’s choice.

“Watchmaking, to me, is the ultimate combo of engineering, fashion, tech and design—a harmony of precision, craftsmanship and perfect timing. I approached this collaboration similar to sampling or starting a beat, taking inspiration from classics while introducing innovation to push them into the future. I’m beyond amped about the results, a first ever for the iconic Royal Oak. For it to be my brother Francois’ final project as CEO of AP makes it even more epic – we are sending him out with a Mega fucking epic mic drop … LETTTSSSSS GOOOOOO.”

Travis Scott
Artist and Founder of Cactus Jack

NICKNAMED “THE CHOCOLATE AP” BY TRAVIS SCOTT

For the first time, Audemars Piguet presents a Royal Oak model crafted in brown ceramic – a signature colour for Cactus Jack. This light and scratch resistant material can be admired on the watch’s 41 mm case and bracelet studs.

“The chocolate AP,” as Travis Scott likes to call it in his latest album, features white gold hexagonal screws as well as a sapphire dial revealing the openworked movement, Calibre 5135, which combines rhodium-toned components with pink-gold-toned hues.

Numerous design elements reference Cactus Jack’s graphics. The Audemars Piguet Design team has specially designed the typography of the calendar and week indications based on Travis Scott’s hand-drawn model. Even the hand of the day subdial takes on the shape of the brand’s logo. But, the most visible nod is the design of the moon phase at 6 o’clock. The usual representation of Earth’s natural satellite has been replaced by Cactus Jack’s emblematic smiley face with its mouth sewn shut, whose luminescent coating glows blue in the dark. In contrast, the other calendar indications, with the exception of the week indication, are endowed with a luminescent material that turns green at night for a unique luminous effect.

A new textured calfskin leather strap makes its debut for the occasion, a first for this complication, while the pink gold folding clasp is engraved with the double signatures of “Audemars Piguet” and “Travis Scott”.

The brown ceramic and sapphire caseback is engraved with “Royal Oak Perpetual Calendar,” “Limited Edition of 200 Pieces” and “Utopia is a state of mind” in reference to Travis Scott’s latest album. This mention also appears imprinted on one of the strap’s mobile loops. The stamped openworked 22-carat pink gold oscillating weight visible on the caseback side is decorated with satin-brushing and polished chamfers and engraved with the double “Audemars Piguet” and “Cactus Jack” signatures. The Cactus Jack logo, which appears in the centre of the oscillating weight, brings the final touch to this collaboration at the crossroads of different universes.

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DISCUSSING PARTNERSHIPS AT THE HOROLOGY FORUM

Audemars Piguet’s Chief Executive Officer François-Henry Bennahmias took part in a public panel entitled “All for One, One for All,” hosted by Austen Chu, co-founder and Chief Executive Officer of Wristcheck, as part of the Dubai Watch Week’s Horology Forum. This panel, which discussed the impact of collaborations in the watchmaking industry, was also attended by Omar Johnson, former CMO at Beats by Dre and Apple’s former VP marketing.

Preceding this panel, François-Henry Bennahmias and His Excellency Omar Sultan Al Olama, United Arab Emirates Minister of State for Artificial Intelligence, Digital Economy and Remote Work Applications announced the long-term partnership between Audemars Piguet and the Dubai Future Foundation, of which H. E. Omar Sultan Al Olama serves as Board of Trustee member and Deputy Managing Director. This partnership, which seeks to drive innovative initiatives to advance the field of Haute Horlogerie, continues Audemars Piguet’s longstanding legacy of cross-disciplinary collaborations with technology and innovation leaders. These collaborations have inspired the brand to move its craft forward, while encouraging talents to broaden their horizons and skills to give life to unexpected projects.

“We are immensely proud to collaborate with distinguished brand Audemars Piguet. This partnership not only underscores the synergy between tradition and innovation, but also the shared vision of pioneering the future. Through this alliance with the Dubai Future Foundation, we aim to elevate the watchmaking industry to new heights, marrying its rich heritage with the dynamic realm of advanced technologies. Together, we envision a future where technology and watchmaking craftsmanship converge to create groundbreaking masterpieces.”

H. E. Omar Sultan Al Olama

Minister of State for Artificial Intelligence, Digital Economy and Remote Work Applications, Deputy Managing Director of Dubai Future Foundation

“Our new partnership with Dubai Future Foundation promotes talents and cutting-edge research collaboration. Their creative minds and distinctive perspectives as leaders in the field of innovation will help us imagine and shape the future of Haute Horlogerie, with the unveiling of our first project in 2025.”
François-Henry Bennahmias
Chief Executive Officer, Audemars Piguet

THE SEEK BEYOND EXHIBITION IN A NUTSHELL

Seek Beyond offered an immersive and interactive journey into Audemars Piguet’s universe, past, present and future and retraced how the brand has repeatedly ventured outside of its comfort zone to push the boundaries of watchmaking. While deeply connected to its origins, it has looked for inspiration in fields as diverse as art, music, sports, entertainment and architecture and established enriching cross-disciplinary dialogues. This mindset has fuelled the teams’ creativity, leading to the development of micro-mechanical wonders that have forged the Manufacture’s own path in the field of Haute Horlogerie since 1875.

Among the heritage and contemporary timepieces exhibited, visitors were immersed in the innovative worlds of the Code 11.59 by Audemars Piguet Ultra-Complication Universelle (RD#4) and the Royal Oak Concept Split-Seconds Chronograph GMT Large Date. Combining ancestral know-how and modern techniques with ergonomics and contemporary aesthetics, these two watches have opened new technical and creative horizons for Audemars Piguet.

The exhibition also shed light onto the Manufacture’s search into materials, gemstones, form language and colour. Visitors could notably admire the exclusive 41 mm Royal Oak Selfwinding Rainbow set, released in 2022, which comprises ten white gold selfwinding hours, minutes and seconds timepieces. Each timepiece is entirely paved with a different baguette-cut coloured gemstone so as to form a rainbow when all the pieces are put side by side.

“Seek Beyond paid tribute to Audemars Piguet past, present and future. Beyond the exhibited watches, visitors were invited to discover the passion of our artisans as well as their quest for new shapes, materials, colours and unexpected complications.”
Sébastian Vivas
Heritage and Museum Director, Audemars Piguet

To further share its passion for its craft, Audemars Piguet participated in the Dubai Watch Week hands-on workshop programme, with two dedicated masterclasses. Visitors were able to try their hand at refined Haute Horlogerie decorations, or explore gemstones and gemsetting under the guidance of experts.

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The Royal Oak “Jumbo” Extra-Thin model is now available in two versions executed in 18-carat white or yellow gold and entirely set with 1,528 brilliant-cut  diamonds or yellow sapphires.

THE SPARKLE OF A FULL SETTING

These two variations are an evolution of the Royal Oak “Jumbo” Extra-Thin model, revealed in 2018.
The 18-carat white gold timepiece is paved with 1,528 brilliant-cut diamonds for a total of ~8.3 carats, which adorn the case, the bezel, the dial and the bracelet. The same gemsetting can be found on the 18-carat yellow gold model, but this time, the timepiece is entirely covered with yellow sapphires for a total of ~10.4 carats. The Manufacture’s artisans have opted exclusively for brilliant-cut stones, giving these two models perfect uniformity. The two timepieces are also the embodiment of “ariver”, in the high jewellery world, flowing seamlessly through the entire timepiece. Each gemstone has been carefully selected and cut to meet Audemars Piguet’s highest standards in terms of its purity, cut and colour. The brilliance of the diamonds and sapphires is also enhanced by the mirror-polished chamfers outlining the  bezel, the case and the individual links of the bracelet.

A LUMINOUS DIAL

The two gold dials offer subtle nuances of colour. Each of their 422 stones reflects against the gold bezel, applied hour-markers and hands, offering luminous  contrasts. The resulting plays of light enhance the legibility of the hour and minute hands, while the “Audemars Piguet” signature and AP monogram have been  discreetly printed onto the sapphire crystal. The background of the date window at 3 o’clock has been specially matched to the watches’ white or yellow gold hues.  The same applies to the 22-carat pink gold oscillating weight, visible on the caseback side, which is either rhodium-toned or plated with yellow gold.

THE EXTRA-THIN CALIBRE 7121

The two new models are driven by Calibre 7121, which displays the hours, the minutes and the date. This selfwinding movement has been specially designed for the  extra-thin case of the “Jumbo”, without altering any of its finesse. Produced by Audemars Piguet’s engineers and watchmakers, this movement, which is only 3.2 mm thick, took five years to develop. It delivers more energy than the previous generation (Calibre 2121) thanks to its new construction that includes a larger barrel, thus  giving it more power and increased precision. In keeping with Haute Horlogerie codes, Calibre 7121 is embellished with emblematic decorations such as Côtes de  Genève, traits tirés and circular satin finishing, which can be admired through the sapphire caseback.
These two fully set variations of the Royal Oak “Jumbo” Extra-Thin are available exclusively in Audemars Piguet boutiques.

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The two highly complicated Royal Oak Minute Repeater Supersonnerie models come in a 42 mm black ceramic case with a black Grande Tapisserie dial and a black rubber strap for a sporty look. © Courtesy of Audemars Piguet

A SLEEK, BLACK AESTHETIC
Audemars Piguet introduces its very first Royal Oak Minute Repeater Supersonnerie animations with cases crafted in black ceramic. These two timepieces also incorporate a full black ceramic caseback – a first at Audemars Piguet. With its multitude of apertures on the side – meant to amplify the minute repeater’s sound when the watch is worn – the caseback epitomises the painstaking manufacturing and finishing operations ceramic components go through to highlight the material’s nuances and the multifaceted shape of the Royal Oak case. The ceramic used contains Zirconium Oxide powder (ZrO2) combined with a binding agent. It achieves its final uniform colour once it has been sintered at a temperature of over 1,000 °C. Each component is then pre-polished and pre-satin-brushed before being meticulously finished by hand to achieve the Manufacture’s trademark alternation of satin brushing and polished chamfers. Lastly, the casebacks have been engraved with sonic waves in tribute to the incredible acoustic performance granted by the Supersonnerie mechanism.
The timepieces’ black monochromatic aesthetic continues onto the Grand Tapisserie dials with their minute train and small seconds counter at 6 o’clock decorated with a snailing finishing. The first version is complemented with white gold hour-markers filled with luminescent coating, while the second model features 13 baguette-cut diamond hour-markers for a shimmering contrast. Both models are adorned with white gold Royal Oak hands filled with luminescent coating for optimum legibility. The white gold details illuminating the dial echo the eight white gold hexagonal screws securing the octagonal bezel onto the case.
Each timepiece is completed with a black rubber strap enhanced with titanium studs and a new three-blade AP folding clasp also crafted in titanium.
WHEN CERAMIC MEETS ACOUSTIC PERFORMANCE
Technical complexity and aesthetic details merge in these Royal Oak Minute Repeater Supersonnerie models. The two timepieces are equipped with the Manufacture’s latest hand-wound minute repeater movement, the patented Calibre 2953, which blends advanced technology with refined traditional finishing. Despite ceramic’s limited sound conductivity, the two timepieces present a remarkable acoustic performance thanks to the Manufacture’s Supersonnerie technology unveiled in 2015.
Developed by Audemars Piguet and launched in the Royal Oak Concept collection, the Supersonnerie mechanism endows the Manufacture’s latest minute repeater models with the volume and resonance usually associated with pocket watches. This patented technology results from eight years of research in collaboration with EPFL, the Swiss Federal Institute of Technology in Lausanne. Inspired by the sonic power of older minute repeater watches as well as by the harmony of musical instruments, a dedicated community of watchmakers, technicians, academics and musicians reviewed the case construction to produce a new chiming technology.
The exceptional acoustic performance, sound quality and harmonic tone are granted by the patented gongs, case construction and striking regulator developed at the time. One of the main developments regards the case construction: the gongs are not attached to the mainplate, but to a titanium membrane which acts as a soundboard and improves sound transmission. Paired with a solid caseback featuring small apertures on its side to let air through, the titanium membrane allows the notes of the minute repeater to resonate perfectly when the watch sits on the wrist, regardless of the material(s) used for the watch’s external parts.
Indeed, the acoustics of the Supersonnerie technology is such that Audemars Piguet has been able to house it in a variety of case materials across its collections, from titanium and 950 platinum to 18-carat white and pink gold – each watch offering its own powerful and unique tonality. This year, the Manufacture has pushed sound experimentation one step further by presenting its very first black ceramic Minute Repeater Supersonnerie models. Even the casebacks, which play a crucial role in creating a resonance chamber together with the Supersonnerie membrane, are honed from black ceramic. Since this titanium membrane on which the gongs are attached enhances the sound transmission of ceramic, the result is a powerful, crystalline chime.
A CONTEMPORARY TRIBUTE TO THE PAST
Since its establishment in 1875, Audemars Piguet has specialised in chiming mechanisms and crafted complex Grande Sonnerie, Petite Sonnerie and Minute Repeater mechanisms ever since. Records show that more than half of the 1625 watches produced between 1882 and 1892 included a chiming mechanism. This achievement can be attributed to the remarkable skills of the craftspeople working for the Manufacture across dozens of workshops in the Vallée de Joux.
While the production of chiming watches never stopped at Audemars Piguet, the creation of chiming wristwatches was rare through most of the 20th century. Between 1892 and 1957, the Manufacture created 35 minute repeater wristwatches. By the 1960s, chiming mechanisms were exclusively featured in pocket watches. Chiming wristwatches made their comeback at Audemars Piguet in the 1990s, following the revival of other classic complications in the aftermath of the quartz crisis. Minute repeating mechanisms debuted in the Royal Oak collection in 1997 with the launch of the first Royal Oak Grande Complication which paired minute repeater, perpetual calendar and split-seconds chronograph.
Introduced in 2015 on a Royal Oak Concept, the Supersonnerie technology made its way into the Royal Oak collection in 2019 with a Minute Repeater Supersonnerie model fully crafted in titanium. Subsequent versions executed in titanium, platinum or a combination of the two materials followed. Today, Audemars Piguet continues to push the limits of watchmaking with its interweaving of ancestral savoir-faire, state-of-the-art technology and uncompromising design as represented by the two new black ceramic Royal Oak Minute Repeater Supersonnerie timepieces.

“Seek Beyond.”

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The Code 11.59 by Audemars Piguet collection continues to grow with the arrival of a brand-new 38 mm case size. This new diameter debuts with two 18-carat pink gold selfwinding models enriched with ivory or purple hues. © Courtesy of Audemars Piguet.

THE PERFECT FIT
The new 38 mm Code 11.59 by Audemars Piguet Selfwinding has been designed with smaller wrists in mind. This size, which complements the collection’s current 41 and 42 mm offering, debuts with two models crafted in 18-carat pink gold. Although displaying a smaller diameter, the two timepieces have retained the Code 11.59 by Audemars Piguet aesthetic codes.
Its case is composed of an octagonal case middle positioned within an extra-thin bezel and a round caseback. The upper part of the stylised lugs is welded to the bezel, while the lower part leans delicately against the caseback in perfect alignment. The contemporary case has been finished with the same meticulous care as the Manufacture’s calibres, the refined alternation of satin-brushing and polished chamfers emphasising its multifaceted architecture.
Following the collection’s design evolution introduced earlier this year, the crown features shallower, yet more pronounced indentations, furthering the case’s geometrical complexity.

PLAYING WITH COLOURS AND LIGHT
The two 18-carat pink gold models offer elegant contrasts. The first watch is enriched with a vibrant purple dial and a matching strap, while the second timepiece presents a more discreet, yet shiny ivory aesthetic.
Both timepieces are endowed with the collection’s latest dial design evolution. The embossed dial, which reproduces a striking gradient structure, was developed by Audemars Piguet in collaboration with Swiss guilloché craftsman Yann von Kaenel. This new dial is decorated with hundreds of tiny holes that move outwards from its centre in a wave-like pattern, giving off unique colour effects. The purple and ivory hues of the two dials have been achieved by PVD (Physical Vapour Deposition) to preserve and enhance the depth of the embossed pattern and maximise the play of light. The new faceted and polished hour-markers and hands accentuate contrasts. In addition, the hands are filled with luminescent coating for optimum legibility in the dark.
Each timepiece is paired with a “large square scale” alligator strap matching the dial tone and is fitted with the collection’s new 18-carat pink gold pin buckle engraved with ”Audemars Piguet”. Two rubber-coated straps lined with calfskin leather and embellished with a textile pattern, in ivory or purple hues, will be available in boutiques.
THE LATEST GENERATION SELFWINDING CALIBRE
The two highly contemporary timepieces are powered by the Manufacture’s latest selfwinding hour, minute, seconds and date movement, Calibre 5900, which first appeared in 2022 on certain 37 mm Royal Oak references. This movement combines a slim 4 mm thickness, a high 4Hz frequency and a 60-hour power reserve. The mechanism is visible through the sapphire caseback revealing its 22-carat pink gold oscillating weight along with the refined decorations adorning the components, such as the polished angles, vertical satin brushing, Côtes de Genève, circular graining and chamfering.

“Seek beyond.”

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The new Royal Oak “Jumbo” Extra-Thin Openworked combines an 18-carat yellow gold case and bracelet with an openworked movement in a matching yellow-gold-toned hue. © Courtesy of Audemars Piguet

A REFINED, DAZZLING LOOK
The Royal Oak “Jumbo” Extra-Thin Openworked model launched in 2022 on the occasion of the Royal Oak’s 50th anniversary takes a fresh look this year with its elegant body of 18-carat yellow gold. Keeping with tradition, the 8.1mm-thick timepiece has retained the aesthetic codes of the original model from 1972. Its gold tapering bracelet and 39 mm case are finished with the Manufacture’s graceful alternation of satin brushing and polished chamfers for an infinite play on the light.
The inner bezel and the movement’s openworked bridges are adorned with a yellow-gold-toned hue matching with the case and bracelet. The dial is enriched with discreet polished white gold hour-markers and hands that recall the white gold hexagonal screws securing the bezel onto the case as well as the gear train seen through the movement’s openworked bridges. The movement’s jewels visible on the dial side add a touch of colour.
Lastly, the Audemars Piguet long-form signature has been printed in black on the sapphire crystal.
A CUTTING-EDGE OPENWORKED MOVEMENT
The selfwinding extra-thin Calibre 7124 brings together precision, performance and age-old openworking expertise. This openworked hour and minute movement measuring a mere 2.7 mm in thickness has been specifically conceived and produced by Audemars Piguet engineers and watchmakers, in parallel of Calibre 7121, to fit in the extra-thin 8.1 mm “Jumbo” case without altering its aesthetic and thickness. It beats at a frequency of 4 Hz and has 57 hours of autonomy when not on the wrist. Its large barrel ensures accuracy for a longer period of time. In addition, it is equipped with a slim openworked oscillating weight in yellow-gold plated 22-carat pink gold, mounted on ball bearings that utilises two reversers developed in-house to ensure bidirectional winding. Lastly, inertia blocks have been inserted within the balance wheel to avoid unnecessary friction and enhance performance.
The openworked architecture of Calibre 7124 is highlighted on the dial and caseback sides. Its fine design was achieved by using advanced technology in conjunction with artisans’ manual dexterity and acute attention to detail. The position and geometries of each component were carefully thought of from the get-go to reach a harmonious and well-balanced openworked aesthetic. The preliminary geometries of the mainplate and bridges were cut through computer numerical control (CNC) machining before they were meticulously touched up to reach the desired shape. The different components were then finished with Haute Horlogerie decorations such as traits tirés, snailing and polished chamfers. The movement’s 247 polished V-shaped angles reflect the rigorous savoir-faire of the Manufacture’s artisans.

THE “JUMBO” AND THE ART OF OPENWORKING
Evolving with each decade, the Royal Oak collection has included more than 50 openworked models to date, fitted with different movements and coming in a variety of sizes, materials and styles – the result of numerous decades of passion and expertise passed down across generations.
While openworking made its debut in the Royal Oak collection in 1981 with a pendant version (Model 5710BA), it truly became part of the collection in the 1990s – a decade that witnessed a wide choice of openworked Royal Oak models.
The first openworked “Jumbo” was launched in 1992. This one-of-a-kind model (14811), whose dial was decorated with a finely chased oak motif, was auctioned off to support the new Audemars Piguet Foundation. Several openworked “Jumbo” models equipped with the extra-thin Calibre 2120 were introduced in very small series until the year 2000. While some models were graced with gemset hands (e.g. 14789, 14793 and 14814), others featured highly stylised designs, such as Models 14884 and 12518 (a unique 125th anniversary creation) which included a naval anchor against a background of stormy waves surrounded by ropes.
Openworking returned in the “Jumbo” collection in 2010 with a stainless steel model (15305), this time equipped with selfwinding Calibre 3129 measuring 4.31 mm in thickness. Two years later, the Manufacture launched a new slate grey openworked “Jumbo” limited edition for the Royal Oak’s 40th anniversary, powered by the new Calibre 5122 which was framed in a 950 platinum case. An 18-carat pink gold version was released in 2014.
The Royal Oak “Jumbo” Extra-Thin Openworked made its come back in 2022 for the collection’s 50th anniversary. For the occasion, the Manufacture launched two models offered in a choice of stainless steel and 18-carat pink gold, both equipped with the Manufacture’s brand-new selfwinding openworked movement, the Calibre 7124. The yellow gold version released this year follows in their footsteps with its refined golden aesthetic merging ancestral know-how and cutting-edge techniques.

“Seek beyond.”

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The Swiss Haute Horlogerie manufacturer evolves the Code 11.59 by Audemars Piguet collection with a new Selfwinding Flying Tourbillon Chronograph. For the first time ever, Audemars Piguet dares to combine the classicism and prestige of the flying tourbillon with the modernity of the flyback chronograph — the sporting complication par excellence. Limited to 50 pieces, this complex watch endowed with contemporary aesthetics and distinct architectural elements brings forward the Manufacture’s progressive approach to traditional craftsmanship.

STATE-OF-THE-ART ARCHITECTURE

This high complication watch unites an 18-carat white gold case with a three-dimensional architectural face design blurring the line between dial and movement. The contrast of rhodium-toned and black galvanic openworked bridges honed from titanium and nickel silver, brings depth and play of light to the watch. The movement as well as all design elements, which count more than 100 hand-polished angles, are meticulously finished by hand with an alternation of satin-brushing and sandblasting.

The transparent chronograph counters at 3 and 9 o’clock reveal part of the complex mechanism, while the impactful flying tourbillon makes its rotation at 6 o’clock. The blued lacquered inner bezel, white gold hands and chronograph rings add a subtle touch of colour, which is enhanced by the watch’s dark blue hand-stitched alligator strap.

The complex double curved sapphire crystal, which perfectly integrates the geometry of the watch’s extra-thin bezel, offers a unique perspective on the dial’s contemporary aesthetics and refined hand-finishing.

The sapphire caseback reveals through its satin-brushed and sandblasted openworked bridges part of calibre 2952, the Manufacture’s newest selfwinding movement endowed with a flying tourbillon and a flyback chronograph. The openworked rhodium-toned 22-carat pink gold oscillating weight harmoniously matches the bridges’ and case’s colour.

“The thread that connects all of our products – past  and present – is that our cases are the canvas for highly detailed hand-finishing that creates a play of light when one examines the case’s architectural geometry. The new Code 11.59 by Audemars Piguet Selfwinding  Flying Tourbillon Chronograph amplifies this experience by emphasizing the contrast of light and the various finishing techniques of the openworked dial elements and the multi-layered complex mechanism. All aspects of the watch – case, dial and movement – are essential platforms for our watchmakers and artisans to express their craft  and the continuing story of Audemars Piguet.“ Michael Friedman, Head of Complications, Audemars Piguet.

AUDEMARS PIGUET, A PIONEER IN TOURBILLON WRISTWATCHES

Code 11.59 by Audemars Piguet Selfwinding Flying Tourbillon Chronograph continues to uphold the Manufacture’s pioneering development in terms of tourbillon wristwatches. The tourbillon invented by Abraham-Louis Breguet in 1801 was a rare find in pocket watches across the world and almost entirely absent from wristwatches before 1986. To this day, it has remained a symbol of watchmaking excellence and art as only a few watchmakers are trained to perfect this mechanism.

In the early 1980s, Georges Golay, Audemars Piguet’s General Director, challenged Serge Meylan, a young constructor newly arrived in the workshops, to give life to the first selfwinding tourbillon in the history of wristwatches—a considerable challenge as the movement had to fit in an ultra-slim 5.3 mm-thick case. Serge successfully met the challenge and this tourbillon is still one of the smallest in the world today with a diameter of 7.2 mm, as well as one of the lightest at just 0.123 grams. Introduced in 1986, this wristwatch forged a new path for the entire high-end watchmaking sector, which renewed ties with this complicated mechanism.

The Manufacture combined the tourbillon and the chronograph for the first time in 1999 in the Jules Audemars Tradition d’Excellence n°1 wristwatch — a limited edition of 20 pieces in platinum uniting tourbillon, chronograph and minute repeater in a movement entirely developed and produced in-house. It was followed in 2003 by Audemars Piguet’s first chronograph tourbillon movement, hand-wound calibre 2889, launched in the Royal Oak collection (ref. 25977). Since then, this complicated movement has seen numerous evolutions across the Manufacture’s collections.

The Code 11.59 by Audemars Piguet Selfwinding Flying Tourbillon Chronograph represents, however, the first time this combination is evolved at Audemars Piguet with a flying tourbillon — a complicated mechanism which the Manufacture first released in 2018 in the Royal Oak Concept collection. By bringing together the chronograph and the flying tourbillon in its latest Code 11.59 by Audemars Piguet collection, the manufacturer continues to move ancestral craftsmanship forward by preserving and reinterpreting traditions.

www.audemarspiguet.com

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