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Since 1875, Audemars Piguet has been
creating exceptional timepieces for
women, culminating in the launch of
the Code 11.59 by Audemars Piguet,
the first collection conceived with both
women and men in mind
While Audemars Piguet’s emblematic Royal Oak epitomises the height of desirability
and prestige among the 21st-century watch crowd, the manufacture is hardly a new
kid on the block. Its watchmaking history spans back to 1875, with a good part of the brand’s
148-year heritage dedicated to producing extraordinary timepieces for women, who were
the first to embrace the wristwatch when it started appearing in the late 19th century. (The
pocket watches beloved by men of that century stayed comfortably and safely ensconced in
the pocket until the early 20th century.)
Miniaturisation was already the name of the game where women’s timepieces were
concerned. Audemars Piguet was right at the forefront of the scene with timepieces that
reflected the brand’s adaptability through designs that ranged from poised to playful. Early
women’s watches from Audemars Piguet took the form of jewellery like pendants, brooches
and rings, and showcased a diverse array of case designs, lively dials and exquisite gem-setting techniques with the creative use of colourful gemstones.
Beyond their aesthetic appeal, these historical watches played a pivotal role in the
wristwatch’s development in the early 20th century, meeting both technical and aesthetic
challenges while anticipating evolving female preferences.
Early women’s watches
from Audemars Piguet
took the form of jewellery
and showcased a diverse
array of case designs,
lively dials and exquisite
gem-setting techniques.
Art of Adornment
Audemars Piguet’s relentless pursuit of miniaturisation led to the creation of exceptionally
compact and complex movements. In 1927, the pinnacle was reached with the development
of the calibre 5/6SB, the smallest “baguette” style movement produced by the manufacture.
This achievement gave rise to highly fashionable wristwatches that blurred the boundaries
between jewellery and horology, ushering in a wave of creative feminine designs.
IN 1927, THE DEVELOPMENT OF THE
MANUFACTURE’S SMALLEST “BAGUETTE”
STYLE MOVEMENT, CALIBRE 5/6SB, GAVE RISE TO HIGHLY
FASHIONABLE WRISTWATCHES THAT USHERED IN
A WAVE OF CREATIVE FEMININE DESIGNS.
Even during the tumultuous years of World War II, Audemars Piguet continued to craft
watches for women. Those produced in the 1940s and 1950s built upon the creative and
artistic trends of the 1930s, particularly in case design. Unique bracelet watches often
had concealed dials and showcased remarkable goldsmithing and gem-setting techniques.
This would continue into the 1970s, with timepieces that married traditional mechanical
watchmaking with gem-setting and other métiers d’art, even as the lure of quartz technology
was growing.
Then, in 1976, Audemars Piguet added yet another significant milestone to its cap when it introduced the Royal Oak II, the first Royal Oak model designed for women. This timepiece was conceived by Jacqueline Dimier, who became the Head of Product Design at Audemars Piguet in 1975. This is significant for one fact: While watchmaking has a long tradition of women doing movement assembly and practising artisanal crafts, the chief design role was typically occupied by men.
Then, in 1976, Audemars Piguet added yet another significant milestone to its cap when it introduced the Royal Oak II, the first Royal Oak model designed for women. This timepiece was conceived by Jacqueline Dimier, who became the Head of Product Design at Audemars Piguet in 1975. This is significant for one fact: While watchmaking has a long tradition of women doing movement assembly and practising artisanal crafts, the chief design role was typically occupied by men.
The Trailblazers
Contrary to the original Royal Oak that caused a stir upon release in 1972, the Royal Oak
II proved an immediate success. This smaller steel version, designed by Dimier,
retained the iconic octagonal bezel and tapering bracelet of the original Royal Oak but
revisited its entire proportions and aesthetic harmony to reach a 29mm diameter. This
diminutive Royal Oak was equipped with a small selfwinding mechanism, calibre 2062,
measuring just 15.4mm in diameter. This transformation established the Royal Oak as an
enduring symbol of feminine watchmaking. Since then, the Royal Oak line has expanded to
include various women’s versions — including the quartz-powered 20mm Royal Oak Mini
launched in 1997 — evolving with changing lifestyles.
The smaller steel
version retained the
iconic octagonal bezel
and tapering bracelet
of the original Royal
Oak, but revisited its
entire proportions and
aesthetic harmony.
In 1996, three years after the Royal Oak Offshore pushed the limits again for Audemars Piguet upon its launch, the manufacture unveiled its first Royal Oak Offshore for women. Here, too, the design team, under the stewardship of Dimier, boldly revised the oversized men’s 42mm model, turning it into a 30mm diameter watch that retained the bold qualities of the original model. In the 2000s, furthering its long legacy of jewellery watches, Audemars Piguet ventured boldly into high jewellery timepieces, blending diamonds and gemstones with audacious designs. While these were entirely contemporary affairs, one can see a hint of the same design language found in the jewellery watches of the 1960s and 1970s. These unique creations paved the way for the manufacture’s Haute Joaillerie watch collection launched in 2013. This included many noteworthy designs, including those found in the famed Diamond Trilogy series, which comprised seminal creations such as the Transformers-looking Diamond Fury (2015), the pyramid-adorned Diamond Punk (2016) and the no-holds-barred spikes of the Diamond Outrage (2017). No less dramatic was 2019’s Sapphire Orbe, which paid homage to Audemars Piguet’s hometown of Le Brassus through a geometric lens, complete with 12,000 rigorously selected gems.
A New Dawn
In 2016, Audemars Piguet collaborated with famed Florentine jewellery designer Carolina
Bucci to reimagine the women’s Royal Oak for its 40th anniversary. This collaboration
gave birth to the Royal Oak Frosted Gold, characterised by its shimmering hammered gold
case and bracelet with a diamond dust effect. This captivating finish — one that Bucci is
famed for — is rooted in an ancient gold hammering technique that adds a sparkling allure
reminiscent of freshly fallen snow in sunlight. It looks to be gem-set, but the shine comes
entirely from the finishing technique. Subsequent collaborations with Carolina Bucci further
enriched the collection.
In 2019, the brand
made waves again
with the introduction
of the Code 11.59 by
Audemars Piguet, its
first collection designed
with both women and
men in mind.
The brand made waves again in 2019 when it introduced the Code 11.59 by Audemars
Piguet, its first collection designed with both women and men in mind. The timepieces
showcase a three-part case composed of an octagonal middle case embedded within
an ultra-thin bezel and a round caseback. The double-curved sapphire crystal creates a
captivating concave optical effect, enhancing the dial’s details from every angle — a unique
sapphire crystal application that sets the brand apart.
The Code 11.59 by Audemars Piguet collection has evolved since then, incorporating new materials, complications, and colours to suit diverse tastes. This year, the manufacture expanded its horizons by introducing a new 38mm case size. These newest editions are a little more diminutive without having lost any of the character that’s so expected of the collection. The smaller case preserves all the codes of the original 41mm models, but makes a point of addressing a proportionally smaller crown with an ergonomic update: More pronounced grooves that make it easier to grip. There are two new pink gold models in purple or ivory, both featuring one of Audemars Piguet’s latest generation of self-winding movements, Calibre 5900. This further broadens the appeal of the collection and reasserts Audemars Piguet’s dedication to producing timepieces for all types of wrists.
The Code 11.59 by Audemars Piguet collection has evolved since then, incorporating new materials, complications, and colours to suit diverse tastes. This year, the manufacture expanded its horizons by introducing a new 38mm case size. These newest editions are a little more diminutive without having lost any of the character that’s so expected of the collection. The smaller case preserves all the codes of the original 41mm models, but makes a point of addressing a proportionally smaller crown with an ergonomic update: More pronounced grooves that make it easier to grip. There are two new pink gold models in purple or ivory, both featuring one of Audemars Piguet’s latest generation of self-winding movements, Calibre 5900. This further broadens the appeal of the collection and reasserts Audemars Piguet’s dedication to producing timepieces for all types of wrists.
