Tag: Audemars Piguet

Audemars Piguet Code 11:59 Starwheel: A Beloved Alternative Time Display Gets A Futuristic New Face

Posted on by Adam Keith
(Futuristic and space-age in its new form–the AP Starwheel is back!)

Time displays on watches and clocks with hour and minute hands are right up there with the ancient sundial in terms of what people think of as the very fundamentals of marking the days and nights in an ancient planetary reality that passes by oblivious to our cares of tracking it. But watchmakers in their endless ingenuity–and desire to distinguish themselves, as well as appease noteworthy clients–have certainly produced many interesting alternatives to the good old methods we so often expect. One of the most beloved, and bewitching, emerged from the house of Audemars Piguet in the 1990s. Known as the Starwheel, its entrancing system of rotating satellites in transparent sapphire were based on a wandering hours complication devised more than three centuries earlier at the behest of a Pope who’s sleep was continually marred by the incessant ticking of conventional clocks. The Brothers Campani (Giuseppe, Matteo, and Pietro) succeeded in creating a clock with a silent escapement, solving the Papal Predicament, but also delivered an additional delight: an unusual time display that substituted rotating discs for hands, and when backlit by a candle, could be easily read day or night. It was this ancient clock that inspired the Starwheel watch, originally produced in a variety of precious metals and in several different case designs, but Audemars Piguet would finally pull the plug on this mysterious beauty by the early 2000s, consigning the Starwheel to history. But now, Audemars Piguet has brought it back, this time in the controversial new Code 11:59 collection. Does it still bring the magic?

(An original Starwheel watch from the 1990s. A couple other variations were made, including a Millenary model, before discontinuation.)

Personal views about the Starwheel, and its charms aside, there’s no question that the Code 11:59 Starwheel is a radically different interpretation than it’s 1990s predecessor. The latter, sized at a traditional 36mm represented the Audemars Piguet of “Holy Trinity” old, when it stood as much for ultra-thin, highly complicated, and dressy watches as it did for a coveted sports watch shaped vaguely like a Porthole, and all the associated variants of that line that would issue forth. Aesthetic details on the original, such as the classic hobnail (or in some variants, hand engraved filigree) pattern on the golden dial elements, the font of the Audemars Piguet signature, and the semi-circular minute track upon which the sapphire discs each with four “hours” slowly traverse, and then turn, to show the passage of time, all represent a bygone era before “Royal Oak mania” consumed all. The Code 11:59, a watch line AP has brought forth to show that the brand is more than just the Royal Oak, had to turn up the stylistic heat. The case, at a healthy 41mm in diameter, brings a lot of modernity to the concept, without straying into ridiculous excess the sorts of which the early 2000s trends were known for. This happy medium, you might say, has been buoyed further by an intricate case construction in which 18K white gold and ceramic create a union that is luxurious, yet somehow readily wearable and not overly formal. That aspect is an important one for times in which classic principles of formality are out the window, and buyers expect watches that can ride along with their lifestyle, not bog it down or look out of place.

(The case and crystal, like the movement, is highly complex and multi-dimensional. A feast for the eyes!)

Impressive indeed is the way in which the gorgeous aventurine glass on the dial’s lower level creates the ambience of a starry sky, giving some added mystery to the hour numeral bearing discs, now no longer in transparent sapphire, but PVD-coated aluminum. Compared to the predecessor, what charm might be lost from the view you got through the sapphire discs to the underlying mechanism below, you gain on a different level from an overall more futuristic, and bolder, to say nothing of easier to read, format. One could certainly argue, pretty effectively, that Audemars Piguet may have drawn a lot of inspiration from the many delightfully quirky wandering hour watches produced by Urwerk, but given how ridiculously cool Urwerk watches are, that’s hardly a bad thing. The complex (and costly to manufacture) double-curved sapphire crystal of the Code 11:59 is a thing to behold, and it’s optical tricks really play to the beautiful dial materials, and three dimensional thrust of the central satellite bearing the curved hour discs. In this respect, the Code 11:59 has an entirely different vibe than the classic 1990s era Starwheel watch, and stands on its own, aesthetically. It might not be as dressy or representative of a classic era of watchmaking, but it presents a face that is undeniably attractive to behold, and really showcases the high luxury aspect of AP finishing, materials, and concepts—all while not being a Royal Oak. And, wasn’t that the point after all? AP could have just thrown out a Royal Oak Starwheel, but they chose to use their controversial new design to reintroduce the complication, and that…takes some horological balls. No matter how it may be received by the public, I respect Audemars Piguet for venturing out of the almost expected Royal Oak and RO Offshore arena, and showing us why they are one of the preeminent watchmakers in the world. And in horological quality, the watch definitely shines, from the wandering hour workings (of course), to the constructive quality of the base in-house AP 4310 movement which you can see just below, a contemporary yet elegantly constructed caliber that shines with characteristic Vallee de Joux finishing finery, yet fills the case nicely as a proper movement should, all while offering a pleasingly lengthy 70 hour power reserve. Unlike the original Starwheel (which used a Jaeger-LeCoultre 889 base movement elaborated by Audemars Piguet for the wandering hours), the Code 11:59 offers up a centrally-mounted sweeping seconds function. I’m not sure I personally favor this, as the lack of a seconds hand on the original rather added to the mystery and visual calm of the slowly turning table of subtly rotating hour discs. Then again, the overall presentation of the Code 11:59 is busier and more modern than the first generation Starwheel, so a center seconds isn’t really discordant here. The second hand also creates some activity for the dial, that will certainly be preferred by some. As with many things, it really comes down to preference.

(The elegant bridges are adorned with a combination of machine and hand finishing, and the open-worked rotor is in 22K gold)

Yes, the Code 11:59 Starwheel is very much its own watch, despite springing from the same house as its illustrious predecessor, and bearing clear inspiration of that legend. So does it succeed? I think it does! There is room for both Starwheels in a collection, and I suspect the hardcore Audemars Piguet collector–especially with a genuine penchant for the house as a watchmaking powerhouse rather than a mere luxury lifestyle juggernaut–will probably feel much the same. For those customers, the steep yet not preposterous $57,900 asking price of this unusual, heavy-hitting Audemars Piguet will be a reasonable one, and the resultant presence on the wrist will create plenty of happiness as time…dare I say, rolls on by?

(Sweep seconds weren’t present in the original Starwheel, but it isn’t aesthetically out of place on the Code 11:59)

Audemars Piguet Royal Oak Offshore Diver 42 Limited Edition In White Gold: Stealth Wealth Luxury Diver Of Subtle Distinction

Posted on by Adam Keith

I’ll make no bones about it. We no longer reside in the relaxed atmosphere of 2006, where it seemed the louder one’s luxury watch was, the better. With the maelstrom of world events, economic turbulence, and steep price hikes in recent years, my own favorite luxury watches have ever increasingly become those with a more subdued presence. This is even more the case when we’re discussing an already world famous design or prestige brand flagship which is well known; depending on the fame of said watch design, you may not entirely escape the public’s attention (desired or otherwise), but certain variant or metal choices choices will keep your love of achingly dear horology a more private affair, if you happen to feel similarly to myself, at any rate. (Which I admit, I feel somewhat a minority in, being a horological child of more innocent times in the 90s and early 2000s, when being a watch hobbyist was more accessible and free of stigma.) With that in mind, I think it’s worth taking a look at one of the most recent addition to the prestigious and highly coveted Royal Oak Offshore range from Audemars Piguet. In this case, AP has chosen to expand their Offshore Diver line with a precious white gold model. In so doing, they’ve given this renowned 42mm high-luxury diver a very subtle yet distinguished character which stands out just enough from its more commonly seen steel variants. More specifically, it does so because of well-chosen stylistic choices here and there rather than overt flash and bling. In fact, looking at it, you’d scarcely distinguish it from a steel AP Offshore…unless, you’re a typically sharp-eyed WIS of course! And we all know how that goes, but I digress.

Even before the handsome black ceramic bezel–a key departure from the stainless steel models with their meticulously brushed stainless steel equivalents–I noticed the dial, and more specifically, the color of its luminous applications. An appealing ecru tone, the luminous application strikes a rather nice balance between warmth and the aggressive watch industry trend of fauxtina, which we can all admit has about an equal ratio of ardent fans to vociferous detractors. Regardless of one’s feelings about the trend in vintage-tinted lume, I think most can agree that the shade AP has chosen is very pleasing, reminding me of a well aged tritium dial minus any tropical sort of water damaged affliction seen on certain specimens of vintage sports watches. The Offshore Diver in white gold has the newer luminous hour indexes of differing lengths, giving it a more classic, Submarineresque sort of vibe, which after many decades is almost ingrained into the watch loving public’s subconsciousness as THE look for a dive watch. Legibility is another superb trait of this arrangement, as quarter hours are that much more distinguishable at a quick glance. One can still smile at the large pattern “Mega Tapisserie” waffle guilloche that is a hallmark of the Royal Oak design, knowing the heritage of the watch and its rich history within the pantheon of greats. If that isn’t enough, you have the polished white gold AP signature at 12 o’clock, proud, yet slightly aloof, without the additional Audemars Piguet spelled out in full below it; the hands and hour markers, distinctively shaped and faceted, are also in polished white gold and reflect light in a titillating fashion. Dial print is at a clear minimum, focusing the eyes on the purposeful indications of time, the elapsed time bezel, and the seconds hand sweeping clearly, the latter thing an assurance that your upscale diver’s tool is fully functional to see you through to another dive…or out of a soul-crushing meeting. And speaking of the latter, if you want to dress your diver up, a quick change strap system at the lugs enable you to quickly swap the rubber strap to a supplied alternative in calf leather, or any other appropriate AP or aftermarket alternative in your exotic material of choice.

While the 18K white gold case might be barely indistinguishable from stainless steel alternatives used in other AP Offshore Diver model references, the use of ceramic for the octagonal bezel, screw-locked winding crown, and the secondary bezel adjustment crown give a barely noticeable yet decidedly clear upsurge of luxury presence. Impeccably manufactured from the nearly scratch proof material, these elements display the same crisp angles and beautiful polished facets as the case flanks and lugs, and keep the feeling of the details high tech as well as artisanal. While there are few precious metal dive watches that might tempt you to challenge the depths beyond your desk, this one has enough subtlety and purposefulness to push that envelope and tempt a few brave souls who long for the days when an expensive tool watch was, well, still a tool. Should you dare to so do, know that Audemars Piguet has verified the pressure-proof capability to a very worthy 300 meters, far more than sufficient for scuba diving necessity, and well above the limits of the average Homo sapiens.

The in-house AP 4308 movement, familiar from its stainless steel Offshore Diver brethren, continues Audemars Piguet’s family of updated in-house calibers. It is both refined, attractively appointed in the extreme, and at 5.4mm thick, surely more than reasonably robust for a haute horlogerie engine. Equipped with a freely-sprung Gyromax balance wheel pulsing 28,800 beats hourly on a fully supported balance bridge, the 4308 offers up 60 hours of power reserve–not the longest in the field of worthy competitors, but certainly more than enough for most reasonable use, especially when considering the attractive sight it offers through the sapphire back. Those niceties include lusciously broad Geneva stripes, bridges with scintillating polished angles, and a 22K gold mass elegantly and discreetly oxidized a dark color for a nice contrast with the rhodium-plated bridges, as well as a nod to the purposeful capabilities behind the luxury facade. It’s slightly surreal to acknowledge the passing of nineteen years since the debut of the caliber’s forefather, the 3120, but the aesthetic and functional heritage of that pioneering automatic for AP is clear, and it’s great to see it evolving into existing and new model families from the esteemed Vallee de Joux manufacture. This movement is certainly not the most exotic of Audemars Piguet calibers, nor the most extensively hand finished, but it represents AP’s commitment to functional yet luxurious and exclusive mechanisms for their most popular model lines. It’s a shame that just 300 examples of this specific Offshore Diver will be made, but I suppose “all good things must come to an end”, as the saying goes.

The Audemars Piguet Code 11:59 Is A Complications Superstar

Posted on by Adam Keith

Audemars Piguet has certainly had to weather its share of guff from brand fans after the 2019 introduction of the controversial Code 11:59 collection, which was to unify AP aesthetic concepts from the classical and post-Royal Oak era in one daring swoop. While initials pans were heavy and overwhelming, the design has really begun to find its feet as the collection has grown in size and scope. Even some early detractors of the Code 11:59 have admitted that the design has endeared itself to them, once they began to accept that this was not merely some cheaply conceived, slapstick hybrid of a Royal Oak and a Jules Audemars case. My own feelings have softened too, and while I never disliked the Code 11:59, it didn’t exactly resonate with me at first blush. That said, once I came to stop comparing it to the iconic Royal Oak and Royal Oak Offshore, I realized that Audemars Piguet had created another icon for itself, an icon that—perhaps more than any other before it—was not just good, but perhaps the ultimate framework for the highest complications in the watchmaking stratosphere. (The sort of special watches that AP is exceedingly good at making!) Let’s take a quick look at a few of these Code 11:59 collection superstars, to consider that possibility.

Seen in both photos above, the Code 11:59 Perpetual Calendar is one of the most overtly romantic of the choices. A mechanical watch that goes far beyond the basics of hours and minutes, you’ll be appraised of the day, date, month, calendar week, and even the leap year cycle, the complex mechanism within making automatic adjustments for the varying length of months all without any intervention on your part. While it may be mathematically calculable, there’s a sense of wonder behind all that’s going on in any perpetual calendar, which reaches far beyond the mundane. And with that said, that’s where the architectural and aesthetic elements of this watch take it to another level: the dial in glittering dark blue aventurine glass suggest the infinite reaches of space, and the starry playing field upon which our planet’s cycles play out. And, more specifically, the complex components of the 11:59 case in 18-karat pink gold evoke a futuristic bridge of sorts, perhaps a spaceship or vessel for our hopes and dreams, upon which everything is realized, or sought, at very least. I find it an awesome concept for the classical perpetual calendar mechanism, and one made even better by the slender self-winding (2120 based) legend that ticks inside– assuring you of the finest in earthly craftsmanship and expertise…all naturally visible through the Code 11:59 caseback.

(Underdial mechanism of the lovely 5134 caliber, based on the legendary ultra-thin 2120 originally by Jaeger-LeCoultre)

Next up is the mechanically delicious Flying Tourbillon Chronograph, pictured just below. A marvel of 479 hand-finished parts, this is one of the newest additions to the Code 11:59 family, and surely one of its most technically gifted. What makes it particularly gorgeous, amidst the obvious virtuosity of the 2952 mechanism itself, is the extensive yet modernistic open-working of the mechanism which Audemars Piguet has achieved to allow open exploration of the caliber’s refined chronograph and tourbillon mechanisms in all of that hand burnished glory.

The intricate tourbillon chronograph is a perfect compliment to the complex and nuanced Code 11:59 case

The caliber is a delight, to say the absolute least, yet the curvaceous and equally modern curves and swoops of the bridges and their gleaming parts gain all the much more mystique when framed against the intricate finishes and complex construction of the 41mm Code 11:59 case in white gold, as well as the vertically curved sapphire crystal which plays with our perceptions. Predominantly brushed, the Code 11:59 nonetheless has many nuanced areas where gleaming bevels play with the light, and they both match with and tastefully contrast against the structural beauty of the impressive AP caliber inside. Again, the movement is beyond wondrous, but it is again that case which makes it unforgettable in a sea of other very fine movements, complications, and competitive brands. Even the finest singer needs a great stage, you might say, and with watches like this, the Code has become a veritable Carnegie Hall.

(A chiming watch with few equals, the Code 11:59 Supersonnerie showcases art of both the watchmaker and master enameler)

Speaking of music, as an ultimate finale in this set, it would be impossible to overlook the wondrous Code 11:59 Grande Sonnerie Carillon Supersonnerie, a chiming watch set to be produced in a series of just five (yes, five!) watches. The name of this reference is certainly a mouthful, but for a creation of this “symphonic” level of complexity, not in any way out of line. Beyond the immensely intricate forest of cams, snails, racks, and levers that animate the selective hour or hour and quarter hour chiming of this watch–all hand finished before meticulous assembly and adjustment by a master AP watchmakers–you have the exceptional futurism of the 11:59 case, contrasted against one of the rarest and most beautiful of enameling specialties for the dial. You see, the dial is a unique creation of the world renowned master enameler Anita Porchet, and shows off the spectacular technique of paillonné enamel. This technique, worthy of an article all its own, involves the kiln firing of successive layers of colored enamel with the additional application and affixing of golden elements (the paillons) to form a design, a design protected below a final shimmering coat of polished lacquer that preserves it for perpetuity. So, in one watch you have an ancient and difficult art realized by one of the greatest masters to walk the planet, an incredible movement that challenges the very boundaries of what the most skilled watchmakers can create, and a daring yet somehow sympathetic case design that ties it all together. In total, a horological delight to every sense we possess, and a supreme union of past traditions and future directions for luxury watches.

(The daunting view of what resides below the enamel dial, and controls the hour and quarter hour chiming complication of the Sonnerie. The gongs, attached to a resonant membrane in the solid caseback, amplify the chimes beautifully, hence “Supersonnerie” )

(Not discussed above, the Openworked Tourbillon is another fabulous member of the Code 11:59 Complications family)

And that I suppose, is what lies at the heart of the Code 11:59’s potential as Audemars Piguet strives forward. The design succeeds in its intent: it does in fact borrow effectively from elements seen in classical watch designs, and the now-adored but once scandalous sculptural angularity of the Royal Oak. Each perspective, despite their seeming incompatibility, oddly enhances the other in some way, and creates an opportunity–however strange it may be at first–to appreciate traditional as well as more avant garde design approaches. While the AP Code may seem a bit overpowering and even alienating in the simplest and most conservative iterations, when complex mechanisms and bold or artistic dials enter the picture, it suddenly becomes a powerful framework to generate anticipation and appreciation of the exceptional.

(A final, and slightly different perspective of the Code case, showing the exceptional detail and finish–a perfect compliment to the artisanal watchmaking within)

“WTF??” Abominable Hybrid Of Great Seagoing Luxury Watches…Or Worthy Novelty: This Cthulhu Mythos For The Wrist Throws A Tentacle Slap Across The Faces Of AP, And Patek Philippe

Posted on by Adam Keith
(What the hell is going on here?? Wait a minute….yup, they really went and did *that*)

“Hybrid children watch the sea…pray for father roaming free.”  So goes one of the most hair-raising and spooky verses from Metallica’s Lovecraftian-themed “The Thing That Should Not Be” in their 1986 Master Of Puppets album.  The foreboding intonation about Cthulhu’s spawn seems to apply just a bit to this jaw-dropping, provocative horological monstrosity…which likewise, might also be something terrible to behold.  Yet, like the hideous and supremely powerful Great Old One, the two watches which spawned it were intended for a life at sea, both with bezels inspired by ship portholes. Of course, both luxury legends also sprang into existence out of the fertile, creative mind of the late Gerald Genta, arguably the most celebrated watch designer in history.   

(Gerald Genta and two of his greatest designs, the AP Royal Oak and PP Nautilus)

So I guess fathers (plural) would be more fitting, but you get the idea: this concept piece by the shadowy brand “Genius Watches” is a literal 50/50 joining of the Audemars Piguet Royal Oak and the Patek Philippe Nautilus designs, watches which are so similar in certain ways, with a shared lineage, yet so, so different.  Who’d have ever thought somebody would have thought to hybridize these two superstars, who shared a genesis from Mr. Genta during the 1970s?? But if you’d ever wondered, here it is, at least in theory, with half of its dial having the Royal Oak’s grande tapisserie waffle pattern, and half the horizontally striated Nautilus dial; the bezel, too, shows the similar yet distinctly differing porthole approach of both houses in equal measure, part having the hexagonal screws of the AP contender, and the other being barren of such decor in the way of Patek Philippe. Continuing the theme, the upper half of the bracelet reproduces the Nautilus integrated bracelet, with the lower showing the distinctly different form AP is known for. (One thing that both its “fathers” have–but it won’t be getting–is a particularly refined or rare movement, instead relying on a workhorse Sellita base.) The price of this provocation, while nowhere even near the galaxy of an AP Royal Oak or Patek Philippe Nautilus in any metal, will still reportedly set you back slightly more than a steel Omega Seamaster 300m Diver, a value proposition that is…assuredly questionable, to put it politely. But then again, what price can one put on a good, hardcore luxury trolling session these days?

This thing is wild, upsetting, humorous, and scandalous. I don’t love it–and I don’t see how I ever could. In fact, I quite loathe it. BUT, I must admit that I do admire how brash the creator is, even if they aren’t being particularly original beyond the process of creating discord and keeping discussion lively. A look at the cryptic Genius Watches website shows that this seems to be exactly the creative inspiration though, so draw from that what you will.  Let’s face it, as much as we love the powerhouse high luxury brands–and AP and PP are both at the pinnacle of that elite group–the hype has become excessive…so, maybe, just maybe, a little comic relief at their expense now and again will keep us watch geeks from taking things so seriously. (Doubtful, that.) And, according to scuttlebutt from around the web, the watch has received no blessings from Patek Philippe, Audemars Piguet, or the estate of Genta, so one may assume it will likely receive a firing squad death of lawsuits-as-bullets from every direction before it even sees the light of day. Or, the sand of a beach. As it crawls from the depths…or, whatever. We shall see!

A Grande Finale AP Royal Oak Jumbo, a Complicated Patek Philippe Table Clock, And Other Standouts Of Only Watch 2021

Posted on by Adam Keith

The annual Only Watch charity event provides a spectacular showcase for the finest–yet simultaneously most diverse–in horology each year, with independents and brands alike producing exceptional and unforgettable “Pièces Uniques” that go to auction in Monaco for the good cause of battling Duchenne Muscular Dystrophy (DMD). There are many beauties already announced for 2021, and I wanted to illuminate just a handful of the standouts amongst many. Before I do so, I should point out that the single thing I love the most about the Only Watch event offerings, is how wonderfully wide-ranging the offered watches are, running the gamut from classic and stately, to wild and fun, with movements breathakingly complicated and refreshingly simple–it is a veritable smorgasbord of diversity from great watchmaking houses all across the spectrum in size and public visibility. To someone looking in, the event is a fabulous slideshow of just how extensive the watchmaking universe really is, and an opportunity to appreciate the most special and rare of timepieces. I wish I had the time to share them all, but I’ll hit some highlights that spoke loudest (to me)…

Pulling no punches at all, Patek Philippe floored me with their announcement of this keywound, complicated table clock! Despite the masterful in-house designed and manufactured movement with a perpetual calendar showing day, date, month, leap year, moon phase, and calendar week, as well as power reserve for the 31 day autonomy, this creation is just as notable for its rich Art Deco ornamentation and the luxurious appointments, which include hand-decorated sterling silver, gold, and select American walnut. The harmony and complexity of this piece are stunning, and suggest what we already know: this will grace one hell of a desk of power, whose owner has the means to acquire whatever his or her heart desires. Fittingly to that last point, the Only Watch 2021 desk clock was modeled after another watch lover of this description, automobile baron James Ward Packard, who was famed as an avid collector of complicated and rare Patek Philippes, and had a similar piece delivered to him in 1923. Interestingly, Packard’s great rival in Patek Philippe collecting, banker Henry Graves, Jr–who of course won the one-upmanship game going on with Packard after getting his eponymous Supercomplication in 1933–had a unique Patek Philippe table clock of his own, too. (Of course he did.) Bottom line: the historical lineage of this Patek Philippe clock is simply irresistible, and what an utterly amazing object of art, horology, and miniature architecture it is!

Going in a totally different direction towards the popular sports watch, Blancpain is offering up another tantalizing variant of its eternally gorgeous Fifty Fathoms dive watch, which I’ll admit I wish wasn’t limited to a single example.

This particular Blancpain Fifty Fathoms variant grabs your eyeballs by the proverbial collar thanks to an extensive and potent use of orange superluminova material throughout the sapphire capped luminous dive bezel, and the dial. This use of orange, which also extends to the famous and historically fascinating “No Radiations” mark at 6 o’clock, honors the color theme of this year’s Only Watch auction, and in my opinion, looks absolutely smashing on the classic Fifty Fathoms. Turning the watch over shows off a characteristically finely decorated F. Piguet 1151 movement with blackened gold winding mass much in the style of other Fifty Fathoms models, but with a special motif highlighting the Only Watch association, as well as the words “Piece Unique” on the edge of the caseback, in case you weren’t satisfied that yours will be the only one in existence.

Among more obscure artist brands, Atelier de Chronometrie announced this absolutely breathtaking watch (the modestly named AdC21) which reminds me of some of the observatory watches of the 1940s–hardly a surprise, I guess, as the young yet highly talented, artisanal brand from Barcelona has built their star on creating pieces that represent the best in the vintage wristwatch era, to the extent of even using fine, old stock calibers as base movements–which they then rework extensively.

The rose gold case of the AdC21, largely handmade in the shop, looks ravishing. It frames up the similarly golden toned sector dial, which shows off curved sword hands in rose gold, as well as a fire blued seconds hand for just that one delightfully rich pop of notable color contrast. As stylish and classic as all of this may be, the real show can be seen behind the exhibition caseback, where a slow beat, handwound movement with an indirectly driven center seconds function ticks in stately 18,000 vph fashion.

The finish and attention to detail of this movement, as in the past with earlier creations, can only be described as a labor of love. I’m not certain which vintage caliber ADC used as the base–I know they’ve used vintage handwound Omega calibers in some earlier debuts–but as always, the tiny team of watchmakers pulled out all the stops, from the chamfers on the bridges, to the finish on the flanks and tooth profiles of the wheels in the gear train. The result is clearly exceptional in every way. Only Watch or not, this kind of dedicated virtuosity makes me very interested in Atelier de Chronometrie and, their (hopefully bright) prospects for the years to come.

Bright and bold colors, a practical complication, and a refreshing sense of freedom and fun bring the Speake-Marin’s One & Two Dual Time seen just above to life. I find myself really engrossed with the contrasts and striking look of this GMT piece in everything from the three dimensional multi-layered dial with explosions of orange, yellow and red, to the skeletonized cutout showing some of the underlying mechanism. Of all the orange-themed watches I’ve seen–again, this color has been selected as the official visual theme of Only Watch 2021–this one seems to use it among the most effectively, and interestingly. While the brand is not quite as endearing to me as when Peter himself was at the helm, this is still a very impressive piece tilted towards the avant garde–definitely not one to be slid surreptitiously under a dress cuff!

And, taking us back to familiar and hallowed territory, is this sensational interpretation of what is arguably Audemars Piguet’s single most iconic single watch – the reverential Royal Oak “Jumbo”. Always coveted, now exceptionally expensive to acquire, AP’s thinnest and most fundamental Royal Oak can get any watch enthusiast practically salivating, regardless of metal and dial combination. How about this then?

Limited to a single piece for the Only Watch cause, it’s wrought from a jaw-droppingly cool combination of satin blasted titanium and polished bulk metallic glass–a material sharing characteristics of other glass formulations, but also being an alloy of palladium, one that offers a fascinating combination of strength and exceptional polishability; in this case, the small links and signature octagonal bezel of the Royal Oak both feature use of this material. The press photos are tantalizing, but I can’t wait to see live photos of it! Sadly, this materially cutting edge, yet delightfully understated interpretation will be the very last iteration of the 15202 before the historic Royal Oak Jumbo model–along with its legendary ultra-slim JLC based movement–is retired by AP in favor of more modern references of the Royal Oak, with modern AP mechanical hearts beating in them. In homage to this point, the dial features the classic hobnail pattern and the marquee and brand signature in the same orientation as the original Reference 5402 Jumbo from the 1970s. The great Jumbo will be missed, but ah, what a grande finale this one is!