The beginnings of the women's Royal Oak preceded the arrival of Jacqueline Dimier. The archives contain an anonymous gouache painting, probably done by Jean-Fred Meylan, featuring a pencilled annotation indicating that it dated from 1973.

Dated July 26, 1974, the earliest plans are from the Italian case maker Fernando Fontana, a company based in Sesto Calende, at the far end of Lake Maggiore. Northern Italian artisans such as Brera and Fumagalli had been longstanding suppliers of high-end watch exterior components to the Swiss watch industry, particularly to Audemars Piguet. Well acquainted with the brand’s Italian agent Carlo de Marchi, Fontana knew how to work steel, which is undoubtedly what convinced Jacques-Louis Audemars to entrust him with the first women's Royal Oak, while the bracelet was to be crafted by Gay Frères in Geneva.

In January 1975, Jacqueline Dimier inherited a project that was already well under way, yet faced the challenge of revising its aesthetic harmony. The proportions of the Royal Oak had to be entirely revisited. In the above-mentioned interview, Jacqueline Dimier explained that it was not possible to miniaturise such a model without reworking its architecture and proportions. She recalled the technical challenges of the operation: “The eight hexagonal screws running through the entire case are a major constraint because they directly influence the proportions of the bezel and, consequently, the entire aesthetic balance of the watch.”

Jacqueline Dimier also recalled that the specifications required the watch to be equipped with a selfwinding calibre featuring a 6 ¾-ligne diameter, i.e. 15.4 mm! A risky gamble, as small dimensions are often not well-suited to a selfwinding system. The movement chosen was Calibre 2062. Its blank was manufactured by the Rayville factory in Villeret, heir to the Blancpain company, a member of the SSIH (Société Suisse pour l’Industrie Horlogère), and a major supplier to Omega. Audemars Piguet joined forces with LeCoultre & Cie to adapt the calibre. The watchmakers in Le Brassus were in charge of the finishing, which was to be resolutely high-end. The oscillating weight was redesigned to be produced in 21-carat gold, another characteristic inherited from the original Royal Oak: “a steel case housing a mechanical treasure partially made of gold.” To accommodate a movement measuring 4.25 mm thick, Jacqueline Dimier had to design a correspondingly generous case and created a raised caseback in order to maintain a slim profile.

The dial featured the same T21 “Petite Tapisserie” motif and the “Bleu Nuit, Nuage 50” (Night Blue, Cloud 50) colour of the 1972 model. However, since it was much smaller than its predecessor, Jacqueline Dimier decided to add a lighter visual touch by placing the white gold “AP” monogram at 12 o’clock for the first time. It is this detail that made all the difference. This key element subsequently appeared on Model 8638 variants, on the latest generations of Model 5402 as well as on countless future Royal Oak watches, starting with Model 4100.

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