The end of 2022 sees a tribute to one of the golden ages of modern watchmaking and unveils the Code 11.59 Starwheel – a watch that directly references a 90s star of modern watchmaking, whilst bringing this complication firmly into the 21st Century.

The Starwheel was originally released in 1991 in a very classical guise, but its history goes all the way back to 1655, when Pope Alexander VII was suffering from insomnia that would be aggravated by the ticking of a clock. A request was made for a “night clock” – one that would be silent, and easily legible in the dark. Produced by the Campani brothers, the time was read on a semi-circle with an aperture denoting the quarter-hours, and was illuminated from inside its casing. This style of clock or watch would be popular until the 19th Century, when the complication would be replaced by the jumping hours mechanism. 1989 saw the revival of this mechanism, when an Audemars Piguet watchmaker rediscovered the mechanism that was detailed in an issue of Journal Suisse d’Horlogerie – since 1991 with the release of the reference 25720, Audemars Piguet has produced approximately 30 models containing their “Star Wheel” wandering hours complication, which has fascinated collectors with its visible mechanism on the dial side.

The new Code 11.59 Starwheel is hewn from 18 carat white gold, with a black ceramic case middle, and black ceramic crown, displaying the brand’s mastery of materials – modern and traditional. Measuring in at 41mm in diameter, the case displays an incredible amount of finishing techniques, made even more impressive given that ceramic is incredibly hard, and is given the same mix of finishing techniques as the white gold components.

A double curved sapphire crystal is affixed to the front of the watch, providing great transparency to the dial. On the reverse side, we can see the in-house Calibre 4310 ticking away behind the sapphire crystal caseback. This is derived from the Calibre 4309 which was seen in the 50th Anniversary Royal Oak models, which in this model, has a module constructed on top to accommodate the Starwheel mechanism.

The dial and movement are virtually inseparable, and it is almost impossible to talk about one without the other. The movement itself has a power reserve of 70 hours, beats at 4Hz, and is automatically wound by a gold rotor.

As previously mentioned, a module is constructed on top of the base movement to accommodate the Starwheel mechanism. A central rotor carries three rotating discs made from aluminium, and each of these discs makes a rotation on their own axis. The time is then told through a fixed disc showing the hours that travels in a 120 degree arc between the traditional positions of 10 and 2 o’clock – meanwhile, the discs in the bottom 240 degrees make their rotation in preparation to display the upcoming hour.

The central rotor displays elements of fine watchmaking finishing, with bevelling on the disc carrier. Underneath the discs is a cutting of aventurine, known for its starry sky-like appearance, and is fitting for a watch with “Starwheel” in its name. The dial also features a traditional seconds hand (the ‘trotteuse’ in watchmaking parlance), that makes one revolution every 60 seconds. The seconds hand is also curved at its tip – following the curve of the discs, but it also has a secondary function to reduce parallax error when viewed at different angles. The Code 11.59 Starwheel is fitted with a textured black rubber-coated strap, and is secured with a pin buckle that bears the Audemars Piguet logo instead of the AP monogram.

This fitting tribute to watchmaking is not only a tribute to the creativity of 90s haute horlogerie, but it is also a great reminder of watches and clocks of the past. It is also a reminder of the state of watchmaking, in that it is an incredibly ancient art and science that is a lot older than we think it is, carrying the weight of tradition, whilst moving ever forward. The Audemars Piguet Code 11.59 Starwheel, then, is that blend of tradition and modernity that the brand is known and loved for – a guardian of the past, and a brand that carries the zeitgeist to move into the future.

Technical Specifications

REFERENCE: 15212NB.OO.A002KB.01

FUNCTIONS: Hours, minutes and centre seconds.

CASE: Black ceramic case middle and crown, 18-carat white gold bezel, lugs and caseback, double glareproofed sapphire crystal, glareproofed sapphire caseback, water-resistant to 30 m. Case thickness: 10.7 mm

DIAL: Blue aventurine dial, black opaline aluminium discs, 18-carat white gold hands and black inner bezel.

BRACELET: Textured black rubber-coated strap with 18-carat white gold pin buckle.

MOVEMENT: Selfwinding Calibre 4310, Total diameter: 32mm (14 lignes), Total thickness: 6.05mm, Number of parts: 261, Number of jewels: 32, Minimum power reserve guaranteed: 70h, Frequency of balance wheel: 4Hz

The Royal Oak would arguably be Gerald Genta’s most famous design, being inspired by a diver’s helmet with its 8 screws surrounding its viewing window. Legend has it that the man designed this watch in one night, and as they say, the rest is history. 

Launched in 1972, it would be a watch that defined its category – a luxury sports watch that treated stainless steel like a precious metal was something that had not been done before. The process to machine and finish the watch was so labour intensive that the first prototypes were made of white gold, as the precious metal is much easier to finish. 

The dial would also prove to be something that blurred the lines between engineering and art. Manufactured by Stern Freres, the “petite tapisserie” pattern is engraved onto the brass blank with a pantograph machine and a burin – a form of savoir faire that has almost been lost to the ages. The distinctive blue colour of the dial, called “Bleu Nuit, Nuage 50” was also an intriguing process. The dials are immersed in a galvanic bath that has been specially formulated to give this colour, and they must be removed at precisely the right time. They are then coated with a protective varnish with a few drops of black colourant to lock in the finishing of the dial.

Powering this watch would be the Calibre 2121 that was the thinnest full rotor automatic movement with date, originally designed by Jaeger-LeCoultre for its most esteemed clients, and easily distinguished by its rail running along the periphery of the movement. Audemars Piguet would continue to have exclusive rights over the movement for a number of decades since, and discontinuing its use in the Royal Oak in 2021.

Over the years the Royal Oak (and its variants) has been picked up by classical style icons like Gianni Agnelli, Alain Delon and Karl Lagerfeld (wearing a custom A-Series coated in black), and modern tastemakers like John Mayer, Will Smith and Serena Williams.

The 2022 revision of the Royal Oak “Jumbo” Extra Thin ref. 16202 does not revolutionise the watch world like it did in the early 70s, but it modernises a classic on the inside, whilst staying true to its aesthetic codes that made it so successful with fashionistas and watch cognoscenti around the globe. Measuring in at 39mm, the size of the original Royal Oak, the watch also retains its Extra Thin moniker at 8.1mm in height. The dial design is reminiscent of the original Royal Oak – minimal text at 12 o’clock, and the applied AP logo at 6 o’clock. To further balance the dial, the words “Swiss” and “Made” are positioned on either side of the 6 o’clock marker. A colour matching date wheel enhances the sophistication of the watch, and the signature baignoire (French for bathtub) shaped hour markers and hands are crafted from gold, and soften the angles of the watch. 

The famed steel model retains its distinctive “Bleu Nuit, Nuage 50” coloured dial, however, to ensure consistency across production, the colour is now achieved through Physical Vapour Deposition – a process that also ensures its longevity.

Two gold models are available as part of this new reference – one in 18k pink gold, and another in 18k yellow gold. Both of these models feature fumé-effect dials, with their colours achieved through galvanic baths, and a subsequent spraying of coloured varnish on their periphery. The pink gold model sports a petite tapisserie dial with grey tones, and the yellow gold model features yellow gold tones with the same distinctive patterning.

An even more luxurious model is made exclusive to AP Houses around the world – a model executed entirely in 950 platinum. Boasting an incredible heft, the 950 platinum model is distinguished from its steel brother with a sunburst smoked green dial.

Powering these new models is the latest movement from Audemars Piguet – the Calibre 7121. Replacing the venerable Calibre 2121, the new movement is modernised to include bi-directional winding, an enlarged barrel to aid in isochronism, as well as an extended power reserve of 55 hours. The date is now made quick-set, making it more convenient to set.

All of this in a package that is 3.2mm thick – barely thicker than its predecessor, enabling the Royal Oak “Jumbo” Extra Thin to retain its precious proportions. The rotor is made from 22 carat gold, and for 2022, the rotors will be of an exclusive 50th anniversary design, and colour matched to the case material – something that is usually reserved for complicated timepieces. 

Audemars Piguet has stated that approximately 1000 pieces of the Royal Oak “Jumbo” Extra Thin will be made available in 2022, with around 120 of those made available to Singapore. This relatively high number in comparison with other regions is to encourage new clients to Audemars Piguet, in order to discover the world of Haute Horlogerie with the brand. If this is proven to be true, this should prove to be popular with budding collectors, eager to add the popular sports watch to their stables.

 As we said earlier, this watch does not revolutionise the watch world like it did in 1972 – the Royal Oak “Jumbo” Extra Thin now has the more important job of continuing the storied history of the brand, providing a crucial link between past and present. Its exterior carries its signature Gerald Genta design, exhibiting the craftsmanship of the artisans behind its walls in Le Brassus. However, the dial and movement is where the techniques of the modern age show their mettle – where Audemars Piguet fuses techniques past and present. This juxtaposition and display of ancient and modern savoir faire, above all else, is why this watch is, and remains such a desirable objet d’art. 

Technical Specifications

Royal Oak “Jumbo” Extra-Thin / 39 mm 

Steel: 16202ST.OO.1240ST.01

18k Pink Gold: 16202OR.OO.1240OR.01 

18k Yellow Gold: 16202BA.OO.1240BA.01

950 Platinum: 16202PT.OO.1240PT.01 

FUNCTIONS

Hours, minutes and date.

CASE

Stainless steel, 18k Pink Gold, 18k Yellow Gold, 950 Platinum case, glareproofed sapphire crystal and caseback, water-resistant to 50 m.

Case thickness: 8.1 mm

DIAL

“Bleu Nuit, Nuage 50”, Smoked grey, Smoked yellow-gold toned dial with “Petite Tapisserie” pattern (Steel, pink gold and yellow gold respectively), Smoked green with sunburst base (platinum only) gold applied hour-markers and Royal Oak hands with luminescent coating

BRACELET

Stainless steel, 18k Pink Gold, 18k Yellow Gold, 950 Platinum bracelet with AP folding clasp.

MOVEMENT SPECIFICATION

Selfwinding Calibre 7121

Total diameter: 29.6mm (12 ¾ lignes)

Total thickness: 3.2mm

Number of jewels: 33

Number of parts: 268

Minimum power reserve guaranteed: 55h

Frequency of balance wheel: 4Hz (28,800 vibrations/hour)

Sporting a new 43mm case diameter as well as a more ergonomic design, the watch combines a flying tourbillon with a flyback chronograph, using an adaptation of the movement that was first unveiled in the Code 11.59 collection. Notably, the calibre features redesigned bridges for a more contemporary architecture along with a highly unusual finish; though it is PVD-treated, the bevels have been polished to remove the coating, making it one of the few black-coated movements on the market that features anglage.  

Improved Ergonomics

Marking the start of a new generation of Royal Oak Offshore, the watch features a smaller case diameter of 43mm versus 44mm before. It retains its impressive presence but has much more refined profile. The most apparent difference is the larger crown, redesigned pushers that have chamfered edges as well as slimmer, chamfered pusher guards. These not only improve the appearance of the watch but also the user experience as a whole when setting the time or operating the chronograph as there is greater access to the movable components.

The Royal Oak Offshore Self-winding Flying Tourbillon Flyback Chronograph is rendered in titanium while the pushers are made of black ceramic. The case has a sandblasted finish, which further enhances the sporty character of the watch, contrasted with polished chamfers along the bezel and lugs. A subtler improvement is the slight curvature of the bezel as well as crystal, which gives the watch a more refined appearance overall.  

Additionally, the watch also boasts the new strap removal system that allows straps to be swapped without the need for tools. They can be easily detached from the case by simply pressing a pair of buttons at the back of the lugs while reversing the motion secures it in place.

Calibre 2967

The self-winding calibre 2967 is a flying tourbillon movement with a horizontally coupled chronograph. It is an interpretation of the calibre 2952 movement that first appeared in the Code 11.59 Selfwinding Flying Tourbillon Chronograph and is based on the calibre 2950 found in the Royal Oak Tourbillon.

While the calibre 2967 has a construction that is characteristic of tourbillon movements with the barrel located at 12 and tourbillon at six o’clock, it features several unusual details. One subtle but appreciable aspect of the dial is that the motion works of the watch are located above the hands so as not to obstruct the view of the tourbillon.    

Secondly, the column wheel for the chronograph is located in between the fixed fourth wheel and the drive wheel, which is in constant contact with the clutch wheel above when viewed from the back. This is clever solution that keeps the chronograph mechanism compact so as to fit the existing tourbillion movement.  

In contrast to the calibre 2952 in the Code 11.59, the bridges of the movement are made of PVD-coated titanium and are skeletonised in a more contemporary, geometric fashion. More unusually, the bevels have been polished to remove the black coating, giving the movement a rather striking contrast of a brushed black surface and anglage on the edges.

On the front, the bridges of the movement also feature titanium inserts that have been polished on the top and sandblasted on the inner surface. Right between the inserts is the flying tourbillon which houses a free-sprung balance wheel, beating at a frequency of 3Hz.

Visible on the back of the watch is the skeletonised rotor that is made of 22-carat gold coated with black PVD. The bridges of the movement feature numerous sharp inward angles that have been hand-finished. As mentioned, seeing anglage on a black-coated movement is highly unusual. It offers the perfect solution to those seeking an ultra-contemporary architecture and design without compromising on fine finishing.  

Reference: 26622TI.GG.D002CA.01

Case: Sandblasted titanium case and bezel, black ceramic pushers and screw-locked crown, sandblasted titanium pusher guards and studs, water-resistant to 100 m.

Strap: Interchangeable black rubber strap with sandblasted titanium folding clasp. Additional interchangeable black hand-stitched “large square-scale” alligator strap

Movement: Self-winding Manufacture Calibre 2967

Functions: Flying tourbillon, flyback chronograph, hours, minutes.

Power Reserve: 65 Hours

Frequency: 3 Hz (21,600 vibrations/hour)

Limited Edition: 100 pieces

While ceramic has many outstanding properties including high scratch-resistance, it is notoriously difficult to manipulate due to its surface hardness. As such, ceramic watches are typically fully polished or sandblasted. In contrast, the ceramic watches from Audemars Piguet are finely executed with an alternating vertically brushed and mirror-polished finishing.

After experimenting with two-tone cases in the Code 11.59 collection beginning with the Tourbillon Openworked “Only Watch” 2019, the brand has now introduced ceramic into the mix with the latest Code 11.59 Selfwinding Chronograph, featuring a ceramic case middle.

Finely Executed Two-tone Case

Without a doubt, the two-tone execution accentuates the highly nuanced construction that characterises the Code 11.59, whereas with a uniform case metal, the bulk of the architecture seems somewhat indistinct. In the new models, the circular bezel, case back and sculptural lugs are made of either white or pink gold while the recessed octagonal case middle is rendered in black ceramic. The high contrast emphasises the circular and angular surfaces of the case as well as helps break up its height, making the watch appear slimmer than it is.

The finishing is everything we’ve come to expect from Audemars Piguet. It is predominantly satin-brushed while all angles are polished. The case middle also features distinct polished facets that serves to highlight its octagonal form.

The case measures 41mm in diameter and is paired with a smoked dark grey dial, which has a vertically brushed finish, matching the case.

In-house Automatic Chronograph Movement

Powering the watch is the fully integrated, in-house automatic flyback chronograph cal. 4401, which is equipped with both a column wheel and vertical clutch. It is a relatively large movement that is classically solid in construction with several notable features.

Conventionally, automatic chronographs have the fourth wheel of the movement integrated in the vertical clutch assembly in the middle. However, in the cal. 4401, the fourth wheel is located at six o’clock, driving the running seconds counter directly, which in turn results in an indirectly driven chronograph seconds in the middle.

This layout frees up space in the central portion of the movement for the chronograph minutes and hour wheels as well as the automatic winding mechanism, keeping the movement as slim as possible. Additionally, it has a flyback mechanism with levers to reset the chronograph while running.

The case back view of the movement is particularly dense, as in contrast to most chronographs on the market including the Daytona 4130, the cal. 4401 relies on individual reset hammers and springs for each chronograph counter. The balance wheel is held in place by a full balance bridge, anchored on both ends for greater stability. The movement operates at a frequency of 4 Hz and offers a 70-hour power reserve.

While the majority of finishing is mechanically applied, the most visible part of the movement – the skeletonised oscillating weight – features hand-applied beveling with sharp internal angles.

It is of course not made of the fictional “Vibranium” – instead it comes in a 42mm wide titanium case, topped with a back ceramic bezel and mounted on a strap in the royal purple of Wakanda, with matching accents on the ceramic chapter ring.

There is a flying tourbillon at the 6 o’clock position on the dial, but no one will be paying heed to that since what dominates the rest of the real estate is the engraving of Black Panther in a pre-attack pose, ready to spring from the watch to save the world.

Crafted in white gold, and requiring 30 hours of labour to create, it is the result of craftsmanship of the highest order, even as a comic book character might not be a traditional metier d’arts subject.

It is so well done that you can use a loupe to enjoy the abundance of minute textures and details, just as you would the finishing of a high-end movement. There, you will find a figure so beautifully rendered, that it almost seems alive. Just look at the texture of the suit and consider how a human hand had to carve all of that under a microscope. Then look into the eyes of the Black Panther , and you can almost feel the anger of T’challa piercing your soul.

Now, while only the owner of the watch can enjoy it in this way, I hope that these close up views of the Black Panther engraving will go some way to assuage your negative feelings of the watch should you have them.

I understand fully that placing a comic book character on the dial of an Audemars Piguet might seem sacrilegious, especially if you’re used to the classically oriented tradition of the brand.

Yet let me say this – my opinion on the matter is that luxury watches in all their forms, are in our modern era, essentially objects of pleasure. No one needs a slim gold dress watch for the dwindling number of formal events that occur these days, nor do real pilots need an old school pilot’s watch to fly their planes successfully. Heck, even real soldiers nowadays rely on Casio G-Shocks for their indestructibility, functionality and their cost-effectiveness. I mean, you could use one of those old school military field or diving watches, and even their modern descendants for actual military service, and if you do, good for you. But would you be lacking in your timekeeping equipment in any way if you wore a cheap digital watch? Most definitely not. In fact, the digital watch would probably give you more functions.

Nowhere was this demonstrated to me more convincingly, than at my first SIHH a long time ago, at the Audemars Piguet booth no less, when a fully diamond encrusted Royal Oak Offshore was placed on my wrist.

I did not expect to have the reaction that I did at wearing a watch like this, for unexpectedly, I began to smile. Seeing such an extravagant and ostentatious thing on my wrist, sparkling and gleaming in the light, I suddenly realized what it must be like to give into pure pleasure, to have and to wear something so decadent, so ridiculous and so amazing.

Furthermore, the reason why this was a significant experience for me was that prior to that moment, I might have judged that exact watch as being gaudy, tasteless, and trashy – the sorts of words that the naysayers might apply to the Royal Oak Concept Black Panther of today.

Watchmaking today is no longer about function. Instead, it is an art that allows us a plurality of means towards personal expression.

We might pay a nod to tradition, wearing a dress watch and wearing suits cut in the manner of past decades, but why? Because it’s a bit of fun, a bit of play acting and a bit of self expression. I mean, would you begrudge someone who wears a chunky dive watch with a suit these days?

So you might agree with my general argument. But does the Black Panther make sense for a brand like Audemars Piguet. Well to that I can concede that it is probably the only Holy Trinity brand where such a watch makes sense.

Audemars Piguet is afterall the most extroverted of the three, being generally of bold and confident design. The Offshore collection in particular is well known for being big, chunky and in your face, and with the bright rubber straps and sporty demeanour, it definitely does show that Audemars Piguet is much more keen to try out new things, being one of the first brands that experimented with non traditional materials in watchmaking like Forged Carbon.

There are certainly more than enough traditionally oriented brands to go round, and it’s great that there are brands like Audemars Piguet (and not to mention, Richard Mille as well) at the high end, who are keen to distance themselves from the violin music soaked background of the 19th Century.

Yes it’s true, if Vibranium were real and Audemars Piguet was given some to make a watch from it for Black Panther himself to wear, he might not want to have a picture of himself on his watch and so it might have a different design.

That’s definitely one way to think about how a different design under this collaboration with Marvel could work, but let’s be real, we are talking about a fictional character here so it’s possible to be a little more straightforward.

Ever found yourself wanting to have a watch with Mickey Mouse on the dial? I have, and just just like a Marvel character, having Mickey Mouse on the dial of a watch I wear everyday reminds me of my childhood, a time when everything seemed possible.

If we look at it that way, perhaps then the Black Panther, as well as the subsequent Marvel characters that will appear in future watches might seem more understandable to you.

Certainly, while I’m not the level of collector that can have my name down for the 250 pieces of a watch like this, I would most definitely buy one if I could. With the number of Audemars Piguet and/or Marvel fans out there, there will be buyers for this watch. Or if not, it’s something to consider if you’re a collector of watches with an uncommon expression of metier d’arts or if you just want to own the most polarizing watch (so far) of 2021.

The Royal Oak – a watch whose reputation proceeds itself, and its fame in the watch world knows nearly no bounds. Designed by the esteemed Gerald Genta and introduced in 1976, the Royal Oak revitalised Audemars Piguet, and breathed new life into the industry as the first luxury sports watch entirely crafted in stainless steel. Since that time, the Royal Oak has seen countless variations, including tourbillon, chronograph and perpetual calendar versions, and in more recent times, skeletonised versions. Being the oldest watchmaker still in the hands of the founding families, Audemars Piguet regularly demonstrate their prowess in the art of watchmaking.

Through the new release of the Royal Oak Double Balance Wheel Openworked in Black Ceramic, the brand demonstrates its knowledge of materials and skeletonisation – and beyond all of the hype surrounding Audemars Piguet and its Royal Oak line of watches, this new release manages to fuse tradition and modernity in one package, offering for the first time, the brand’s signature case and bracelet design in ceramic, with their Double Balance Wheel as well in the mix, making an everyday wearing watch that is scratch resistant and super cool.

We begin with the famous octagonal case for which the Royal Oak is renowned for. Inspired by the portholes of a ship, the watch is slightly larger than the model of its genesis, measuring at a modern 41mm. Even though the watch is executed in black ceramic, there still has been an enormous amount of attention paid to the finishing of the case and its integrated bracelet.

There is vertical satin brushing on the flat surfaces, and chamfering on the edges – it really is a wonder how Audemars Piguet manage to finish ceramic (which is virtually unscratchable) in such a fashion befitting haute horlogerie. Its bracelet manages to drape around the wrist like cloth, and is secured by a double butterfly clasp with a push-button mechanism. The hexagonal screw-down crown ensures a 50m water resistance, and features a sapphire crystal caseback to view the exquisite in-house automatic Calibre 3132.

To say the movement is visible through the sapphire glass is a real understatement. Skeletonisation remains a core competency at Audemars Piguet, having practised the craft since the 1930s. The art of skeletonisation involves selecting a movement and designing its appearance first, before the craftsperson begins to cut away at the bridges and plates of the movement to reveal the wheels, pinions, levers and springs within. This process can be a double-edged sword – cut too little away, and you risk the watch not being aesthetically pleasing – cut too much away, and you risk the structural integrity of the movement, making it extremely fragile. 

In addition to this, the movement must also be finished, and in the case of Audemars Piguet, it goes without saying that all components are finished excellently. A watchmaker once told me that in order to discern fine finishing of a movement component, one must seek out sharp internal angles – that is, acute angles that are polished to a sharp shape. This is featured most prominently on the gold bridge holding the two balance wheels, where the angles near the jewel bearing and near peripheral screw holes do we find examples of this internal-angle hand chamfering. Not to mention its vertical brushed flat surfaces of the bridges, the perlage on the baseplate, and the circular graining and polished teeth on the wheels.

The namesake of this watch also gives away a key feature aiding in everyday chronometric performance – the double balance wheel. In the case of this Royal Oak, the double balance wheels are on the same axis, doubling the moment of inertia of the regulator. Putting aside the physics-speak, this means that it is harder to disturb the oscillations of the regulator, and will keep better time under different positions, as well as resisting the time-altering nature of shocks to the watch.

With the Royal Oak Double Balance Wheel Openworked in Black Ceramic, Audemars Piguet have demonstrated once again that they are able to master the traditional aspects of watchmaking in the Vallee de Joux style, whilst combining the modernity and durability of modern ceramic. The watch goes to show that Audemars Piguet has always had watchmaking at the heart of what it does, and even in its most modern of pieces, will continue to conserve traditional watchmaking in the Vallee.

Their target market for these watches would probably appreciate the restraint shown here as well. Not only that, there is something for every taste, from the basic to the luxurious here.Two of the four references are in stainless steel, with one carrying a silver toned dial, and the other in a blue grey “Grande Tapisserie” dial. The silver toned dial version is perhaps the most austere variation here, being all monochromatic and all business, or perhaps put another way, a simple and minimalistic exercise for those who want the ingredients that count and nothing more. The blue grey dial version is just that little bit dressier than this since it comes with a diamond bezel as well.

Straddling the middle line next is a two toned model, with stainless steel being the base and an 18k pink gold bezel and bracelet links forming the embellishments. This also comes with a silver toned “Grande Tapisserie” dial and has an appropriate level of retro look back in appeal.Lastly the most luxurious one in this new line is a full 18k pink gold model for the case and bracelet, coming with a diamond-set bezel and silver-toned “Grande Tapisserie” dial. This one of course, holds nothing back, and is probably the one to get for the ultimate in that luxurious AP feeling on the wrist.All the new watches carry the new automatic calibre 5800, endowed with a dedicated oscillating weight specifically developed for this new 34 mm model.

Find out more at audemarspiguet.com.

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To remaster something means to return to the original creation, and to make new copies of it with the benefit of improved techniques. In the context of filmmaking, it means going back to the original negative and rescanning it at a higher resolution for modern screens, then using digital techniques to correct errors, improve quality and maybe add new elements.

That certainly explains the “[Re]master 01” bit in the name of the new watch, which frankly has a little of the new naming style of the brand, seen in the uncommon way the CODE:11.59 collection was named. It does take a little getting used to but it does inject a certain kind of energy into the feeling of the new watch.

The source of the inspiration then is reference 1533 from 1943, with the new watch essentially keeping the signature features of the vintage.The old bits that are retained in the new [Re]master01 include the stainless steel case and lugs, that are contrasted by the bezel, olive- shaped pushers and chamfered crown in 18-carat pink gold. On the wrist, the teardrops lugs in stainless steel differ from the gold colour of everything else visible, which is a nice contrast. The satin-brushed gold-toned dial enriched with black transferred hour-markers, pink gold hour, minute and seconds hands, blue chronograph hands and a blue transferred tachymetric scale is similarly faithful to the original and strikingly charming.

Even the dial design with the Art Deco-inspired numerals and the use of the old Audemars Piguet logo script signed “Audemars Piguet & Co Genève” adheres to the reference 1533, and come from a time when the company had a workshop in Geneva to be closer to end clients and facilitate distribution within Europe and beyond. The new differences in the [Re]master01 include the large 40mm diameter, as opposed to the original’s 36mm diameter, which not only ensures better legibility but is more in line with modern preferences.Secondly, on account of the use of the new calibre 4409, the latest generation automatic chronograph movement from Audemars Piguet with column wheel and flyback function, that differs from the calibre 4401 by having no date function, the chronograph counters have been rearranged.

While the reference 1533 had running seconds at 9 o’clock, 30 minute chronograph counter at 3 o’clock and the 12 hour counter at 6 o’clock, the new [Re]master01 switches things up – by having running seconds at 6 o’clock, the 30 minute chronograph counter at 9 o’clock and the 12 hour counter at 3 o’clock.One nice detail though that has been kept, the [Re]master01 has retained the original watch’s 4|5 indication above the 15 minutes mark inside the 30-minutes counter at 9 o’clock to allow the wearer to record up to 45 minutes. It’s a charming little quirk from the original and comes from a request by Audemars Piguet’s third-generation family-founder Jacques-Louis Audemars (1910 – 2003) to satisfy his taste for soccer and indicate his favourite sport’s half time.

A word on the reference 1533, it is part of an exceedingly small number of Audemars Piguet’s vintage chronograph wristwatches that were made between the 1930s and the 1950s. All told, there were only 307 units that were made between the 1930s through to the 1950s which makes acquiring one from that era very difficult nowadays. Not to say that the limited edition of 500 pieces of the new [Re]master01 will be easy to acquire, just relatively easier, by comparison.All in all, this is a satisfying release from Audemars Piguet, and the name of the watch does give a clue that it is the beginning of a series of this type of vintage reissue to come.

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Well, the prayers of the patient have been answered with the launch of the same watch, albeit with some slight differences and now christened with the overtly straightforward “Royal Oak Selfwinding Perpetual Calendar Ultra-Thin” (ref. 26586IP.OO.1240IP.0). Maintaining the technical features of the RD#2, the watch has a movement measuring in at 2.89 mm in thickness and a case of 6.3 mm in height. What does this mean? Well, quite simply, it is now the world’s thinnest automatic perpetual calendar wristwatch that you can buy.

Let’s put this in context with some actual examples – a Rolex Submariner, a watch that many would be familiar with is 13.0mm thick, which is about normal for a typical sports watch. Keep this in mind when considering the record-holders in the ultra-thin category. Right now, the world’s thinnest watch is the Jaeger-LeCoultre Master Ultra Thin Squelette at 3.60 mm, followed behind by the previous record holder, the Piaget Altiplano 900P, at 3.65mm. If we’re talking ultra-thin wristwatches with tourbillons, there is the Bulgari Octo Finissimo Tourbillon, which comes in at 3.95mm. Now, if we add complications such as a minute repeater, we find that the record-holder is the Bulgari Octo Finissimo Minute Repeater at 6.85mm thick.

Now consider the new Royal Oak Selfwinding Perpetual Calendar Ultra-Thin at 6.3mm thick, and consider what it has achieved in the context of the others mentioned above. First of all, while it may best the world’s thinnest minute repeater, the Bulgari Octo Finissimo Minute Repeater at 6.85mm thick compared to 6.3mm, it does so with an automatic rotor, which the former doesn’t have.

In fact, note that all the watches mentioned above are manual winding, meaning that they do away with an automatic rotor, which helps to remove one layer from the movement, and so achieve better thinness.

Then if we think how perpetual calendars have always required extra layers on the movement on top of the basic gear train, mainspring and balance wheel, with these parts mounted on the dial side for the calendar indications, we realize how quickly that height can add up in one.

So how has the new Royal Oak Selfwinding Perpetual Calendar Ultra-Thin achieved its record breaking slimness? In a word – simplification. Perpetual calendars basically work by transferring time information, starting with the individual beats from the balance wheel, to the seconds, minutes and hours, and then onward to the date, the month and the current position on the leap year cycle. It is those parts after the basic gear train, or the hour wheel, that reveals the complexity of what it required to achieve a perpetual calendar. At its heart, it is due to the differing number of days in a month and also the need to adjust for the leap year.

Take a look at most other perpetual calendar movements and one finds that the parts required are normally arranged on multiple levels, all to manage the flow of the time information all the way down the line.

What has the new Royal Oak Selfwinding Perpetual Calendar Ultra-Thin done then? Well, basically to merge all these parts into a single layer.

Take a look below at the Calibre 5133 and you will find that it is strangely very flat. Two pioneering and patented innovations are also visible here, the end-of-the-month cam, which has been integrated to the date wheel, and the month cam, which is combined with the month wheel.

Starting from the hour wheel in the middle, which has to complete two (12-hour) revolutions to make 24 hours, this is connected to the 24 hour wheel, which pushes lever 1 and lever 2, and advances the 31-tooth date wheel by one increment. The date wheel here has one tooth that is in a different shape than all the others and it is the way that the mechanism reads that it is the end of the month, which helps to advance the month wheel by one increment.

Moving further, we find that the month wheel has many notches in it, with the height of each notch representing the length of each month. These stand for all the 36 months within a 4 year cycle, with each notch representing the length of the month. Shallow notches represent 31-day months, while those slightly deeper represent 30-day months. Those with the deepest notches represent the 28-day long February months of each year, and there are three of those, with the last remaining one, (marked to the right of it with a red X) that represent the only February with a 29 day month.

Of course, while this is a simplified explanation for what you can see in the movement since there are other things going on that make all this work. What is clear however is that to place everything on one level, the geometry of each component has also been optimised, reducing adjustment and assembly time, another advantage to the new design.

The dial, too, has been redesigned compared to previous Royal Oak Perpetual Calendar models (such as ref. 26574), with the day, date and month sub-dials being enlarged for optimum legibility, while the night and day indication at 8 o’clock has been added symmetrically to the leap year indication positioned at 4 o’clock.

Aesthetically, the new Royal Oak Selfwinding Perpetual Calendar Ultra-Thin differs quite a bit from the concept RD#2, and it is in the case material and dial aesthetics that we see significant change. The RD#2 for example had a platinum case and bracelet in the brand’s signature satin-finish and a blue “Grand Tapisserie” pattern on the dial. The new watch however departs from this more traditional look, mixing two materials that are not often used together – titanium and platinum in a very interesting way. With the polished surfaces in platinum and the satin-brushed in titanium, the watch maintains a high level of luxury with the platinum, yet combines performance advantage of titanium, achieving a lighter wearing experience on the wrist, with an appropriate level of shine.

More specifically the finishing for the case is satin-brushed titanium, and it is topped with a polished platinum bezel. The bracelet is also similarly mixed, with satin-brushed titanium and polished platinum central links, rounded off with a titanium folding clasp. Furthermore, while the dial still comes in blue, it is now in a satin-brushed finish, a choice that enhances legibility while matching the aesthetics of the case and bracelet.

Overall then, this is an important release and a worthy addition to the brand’s history of ultra thin watches. Certain to be a hit with collectors, word on the street is that firm deposits have already been placed for the initial production, with some watches already finding their home on the wrists of proud owners.

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