Royal Oak II: Birth of the First Women’s Model
Summary
Was the Royal Oak Inherently Masculine?
Historical records suggest that the Royal Oak 5402 watch from 1972 was designed as an exclusively masculine watch. In April 1970, when designer Gérald Genta was inspired by the memory of a scuba diver to design the bezel and its visible screws, he was probably not thinking of women. In September 1971, when Audemars Piguet and the publicist Hugo Buchser sought a name for the future icon, they started looking for "names evoking sport, open spaces or virility.” As for the 1972 campaign, it was explicitly aimed at “discerning men of action”, and even at "men of steel", by analogy with the material of the watch.
How can one explain the fact that the first Royal Oak evolution was feminine? Model 8638 was launched in 1976, even before the legendary Model 5402 was interpreted in precious materials! "Behind every man is a woman,” the saying goes and it appears that femininity has been embedded in the Royal Oak since its birth. American watch expert and historian Michael Friedman reminds us that Gérald Genta was first and foremost a jeweller and that this sensitivity is reflected in many of his creations. It is certainly true that the multiple facets of the case and bracelet play with light like the facets of a diamond. One may also recall that during the first decades of the history of wristwatches, men almost systematically adopted leather straps, considering metal bracelets as feminine attributes. This means that the 1972 Royal Oak already featured a feminine touch and the observation reminds us that in watchmaking, the question of gender has evolved in step with cultural change.
Gender in Watchmaking
Historically, the question of whether a watch is feminine or masculine has not always been relevant. In the 16th and 17th centuries, timepieces were rarely designed with one specific gender in mind. They were distinguished primarily by their rarity and high value. Owning them was above all an expression of belonging to a particular socio-cultural category. They were rarely worn, and when they were, both men and women usually wore them around their necks.
This dynamic evolved from the 18th century onwards. Little by little, women's watches were adorned with precious stones and miniature enamel paintings depicting pastoral scenes, flowers or foliage. Watches became so miniaturised that they were sometimes confused with jewellery. At the same time, in the Western world, men gave up colours and jewels to adopt dark suits from the 19th century onwards. Their watches grew more restrained and at the same time more accurate, while the most prestigious were equipped with horological complications. In the 20th century, the wristwatch became the norm for both men and women, yet the gender distinction remained. However, in the 1960s and 1970s, the cultural revolution began to blur the lines.
The Origins of Audemars Piguet Women’s Watches
Since 1875, most of women’s watches at Audemars Piguet have been distinguished from men's watches by two qualities. Firstly, their dainty size, which has remained a constant to this day. In order to fit women’s slimmer wrists, timepieces are miniaturised, sometimes to the extreme. This drastically increases the production difficulty and the value of their movements, when these are mechanical.
Secondly, women’s watches are often richly ornamented, featuring cases and bracelets embellished with fine and precious stones, enamels, pearls, etc. This second quality is nonetheless less consistent than the first. As early as the 19th century, pendant repeater watches, for example, were rarely set with diamonds. In the 1920s and during the post-war boom period, certain models stood out by their unusual design, with taut lines, complex and innovative geometries, non-figurative textures, plays on asymmetry, etc. In their own way, these more understated watches paved the way for the feminine Royal Oak and contributed to a gradual gender rapprochement in watchmaking.
1917. Octagonal wristwatch. The aesthetics of the extendable bracelet are in line with the two horizontal sides of the octagon, as would be the case with the Royal Oak half a century later. 7-ligne calibre. Movement and case no. 18897. White gold set with 82 brilliant-cut diamonds. Sold in Copenhagen in September 2017. Audemars Piguet Heritage, inv. 1838.
1921. High Jewellery with cover. The mechanism produced in the Vallée de Joux is hidden beneath a case designed by the New York jeweller Oscar Heyman. Calibre 8RP. Movement 25525. Case 104841 in platinum set with 261 brilliant-cut diamonds, 12 rubies, 35 emeralds. Audemars Piguet Heritage, inv. 1666.
1932. Art Deco jumping hour wristwatch. Both aesthetically pleasing and functional, the aperture-type display protects the dial from shocks. Cushion-shaped. Calibre 8SV. Movement and case no. 28907. Polished white gold and satin-finished pink gold. Pre-Model 179. Sold in France in 1932. Audemars Piguet Heritage, inv. 651.
1950. ‘Secret’ wristwatch with cover 5949BA. When the cover is closed, the watch becomes a pure Milanese mesh bracelet. Calibre 5/7SB, the smallest in the world. Movement and case 41790. 18-carat yellow gold. Sold in Caracas in 1950. Audemars Piguet Heritage, inv. 1814.
On the Brink of Disaster
The project for the first women’s Royal Oak began in 1973. At that time, the third generation of the Audemars and Piguet founding families were still working daily in the Le Brassus ateliers. However, since 1967, the man at the helm of the brand was Georges Golay, a visionary entrepreneur who had been involved in the company’s modernisation since 1945. Notably benefiting from the success of the Royal Oak, Audemars Piguet had the wind in its sails and went from 84 employees in 1972 to 125 two years later, an almost 50% spurt in growth. Turnover doubled during the same period to reach 25 million Swiss francs.
Despite these pleasing figures, the global context was explosive. In 1971, the United States abandoned the Gold Standard, shaking the world economy. Following Richard Nixon’s decision, the dollar was no longer converted into a fixed amount of gold. In 1973, a first oil crisis sparked a period of monetary instability that would last ten years, characterised by galloping inflation, a surge in gold prices and a second oil crisis in 1978. This spelt the end of the post-war boom period. The entirely export-oriented Swiss watch industry was hard hit by this crisis, notably due to the high value of the Swiss franc. This weakening was aggravated by the tidal wave of quartz watches manufactured by Japanese and American electronics giants. In ten years, 1,000 Swiss watchmaking companies vanished, taking with them two-thirds of the jobs in the industry!
Thanks to its high-end positioning and some bold decisions, Audemars Piguet was largely spared by the crisis, even doubling the number of its employees between 1974 and 1984 and increasing its production from 9,000 to 11,000 watches per year.
Royal Oak II: A Radical Creation
Periods of crisis are conducive to new, radical ideas that would probably not have seen the light of day in any other context – and it was no different for the first women’s Royal Oak. By way of reminder, the Royal Oak created intense controversy in 1972 by displaying screws on its bezel and treating steel as a noble metal. At the time, steel was already used in countless mid-range and high-end men's watches, while the dainty women's watches were almost all made of precious materials. The visible screws symbolised resistance, strength and technology, which had long been perceived as masculine qualities.
Maintaining these codes for a woman's watch could therefore be perceived not only as a provocation, but also as a manifesto. Georges Golay and Jacques-Louis Audemars were well aware of this. They also knew that it would have been easier to make this watch in gold, a much more malleable material ideal for diamonds. Just as it would have been simpler to equip the watch with a small hand-wound or quartz calibre, as miniature selfwinding movements were both rare and delicate. Nonetheless, Audemars Piguet opted to take the high road and make no concessions in developing the "Royal Oak II".
One of the First Watches Designed In-House
For the first 100 years of its existence, Audemars Piguet used external designers to design its watches. One of the most prominent among them was Gérald Genta, who worked with the Manufacture for nearly 20 years and founded his own watch brand after designing the Royal Oak.
However, Georges Golay sought a more permanent solution. Following the example of Piaget, which since 1967 had enriched its team by recruiting the designer Jean-Claude Gueit, the “rainbow” setting creator, Audemars Piguet’s managing director decided to integrate this role into the company. In 1972, he hired 21-year-old Jean-Fred Meylan, a native of the Vallée de Joux, whom the employee register describes as a “jeweller”. For three years, Jean-Fred Meylan designed numerous ultra-thin models with pure lines, the most famous of which featured dials inspired by the screens of the first televisions. He designed the first Audemars Piguet quartz watch, Model 6001, equipped with a very high-frequency calibre. Presented in 1974, it was admired but its thick case made it rather unpopular.
The collaboration was short lived and on January 6, 1975, Audemars Piguet hired one of the first female designers in the industry: Jacqueline Dimier. This time, the register indicates her profession as “stylist”. More experienced than Jean-Fred Meylan, she designed the majority of Audemars Piguet watches for 24 years.
Jacqueline Dimier
A graphic designer by training, Jacqueline Dimier entered the world of object design via that of jewellery by chance. For a Geneva-based designer, turning to watchmaking was a natural progression. After a few years, she began offering watch designs to Patek Philippe, Vacheron Constantin and Rolex. Her success was such that the latter company offered her a position, which she held for seven years. This experience at Rolex was invaluable in helping her understand the interdependence between creativity and feasibility, beauty and technique. Every designer knows that an idea only comes to life when it is embodied in an object. Making timepieces involves significant constraints, since these small and complex objects must both deliver time and resist it, particularly in wearing conditions that can place it in jeopardy.
In a 2017 interview, Jacqueline Dimier remembered how, upon arriving at Audemars Piguet on January 6, 1975, she had just two months for her predecessor Jean-Fred Meylan to hand over and to fine-tune the new models presented in April at the European Watch and Jewellery Show in Basel. She explained that the watches and Haute Joaillerie prototypes were kept on a shelf behind the designer's desk at the time. When she expressed her surprise at the lack of security, Jean-Fred Meylan is said to have replied: “Nothing untoward can happen in the Vallée de Joux.”
Development
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.
Circa 1973. First sketch of the Royal Oak II. The first sketch of the second generation Royal Oak is perfectly in line with Model 5402. Only the diameter of the case and the proportions of the bezel differ. Audemars Piguet Archives.
1974. Blueprints for the Royal Oak 8638. Two years before its launch, the first technical drawings of the Reference 8638 case were made in Italy, by the Fontana case manufacturer. Audemars Piguet Archives.
Circa 1976. Identification sheet for bracelet No. 424. Created for the 8638 model, the bracelet no. 424 reinterpreted the codes of its 344 predecessor, but in a much narrower format. Audemars Piguet Archives.
Case components of Model 8638. The external architecture of the first women's Royal Oak is very different from that of its 5402 predecessor. Audemars Piguet Heritage, inv. 1871.
1977. Royal Oak 8638ST (1976), No. 370. Calibre 2062, movement 224714 (originally 176679). Bracelet 424. T21 Tapisserie dial. 29 mm case. Steel. Sold to Italomega in 1977. Audemars Piguet Heritage, inv. 1871.
1976–1980. Calibre 2062, caseback side. Diameter of 15 mm (6¾ lignes). Hours, minutes, selfwinding, 24 jewels. Movement 192611. Audemars Piguet Heritage.
1976. Caseback of Model 8638, front and back sides. The caseback is in relief so as to house Calibre 2062 (4.25 mm), while retaining a thin case. Audemars Piguet Heritage, inv. 1871.
1976–1977. 8638 dials. As its 5402 predecessor, the first women's Royal Oak welcomes a similar Bleu Nuit, Nuage 50 guilloché T21 Tapisserie dial. For the first time, the AP monogram is positioned at 12 o'clock. Stern's technical sheet (on the left: dial for ST models; on the right: slate grey variant for SA models). Audemars Piguet Archives.
1976. Technical Data Sheet for the case of Royal Oak Model 8638ST. Audemars Piguet Archives.
Launch at FRED’s in Paris
Since the 1940s, Audemars Piguet had presented its new products at the Basel Fair. Every year, this not-to-be-missed event brought together all the Swiss and European brands for ten days and attracted all the industry professionals who came from all over the world to discover the new products and take orders. In 1976, the fair was held from April 26 to May 3 and the Royal Oak II played a central role on the Audemars Piguet booth. However, for this exceptional watch, the brand from Le Brassus had departed from its usual rule. The first ten timepieces, numbered from 00 to 09, had already been unveiled to the public three weeks earlier at an exhibition at the jeweller FRED on rue Royale in Paris.
The Royal Oak 8638 was an immediate success, so much so that the workshops struggled to meet the growing demand. In 1976, 428 watches were sold and the following year, 765 left Le Brassus. The figure was close to the 1,000 mark in 1978 and exceeded it in 1979. The success of the women's Royal Oak was such that it turned the spotlight on all other Audemars Piguet ladies’ watches. By 1976 already, the number of feminine watches on offer had increased by 55% to over a quarter of total production and reached one-third a year later.
1976. Royal Oak I and II advertisement. This ad published on 13 April 1976 in Le Figaro announced the launch of the first women's Royal Oak, Model 8638, in the boutique of Fred in Paris. Audemars Piguet Archives.
1976. Royal Oak I and II advertisement. Published in the German magazine Der Spiegel in October 1976, this ad presents the two models that constituted the full Royal Oak collection back then: 5402 (as early as 1972) and 8638 (1976) – both available only in steel. Audemars Piguet Archives.
1976. Europastar' Basel Fair Flash. Model 8638 appeared among the two models selected to illustrate women's novelties at the Basel Fair in 1976. © Europastar 150-6, April-May 1976, p. 34.
1978. Royal Oak 8638ST (1976) No. 743. Calibre 2062. Bracelet 424. T21 Tapisserie dial. 29 mm case no. B10000 in steel. The watch entered the Audemars Piguet Heritage Collection in 1990 (inv. 654).
From Steel to Gold
Whether for men or women, the first Royal Oak watches were all made of steel. The concept was radical and made a lasting impression. It enabled the watch to make its mark and began writing a new chapter in the history of Haute Horlogerie. It did not however meet the increasingly pressing market demand for variants in precious materials.
The year 1977 witnessed the appearance of the first gold Royal Oak models. Some purists feared that the renunciation of the original concept in its most orthodox form would dilute the Royal Oak’s strength. Time has proven otherwise. The 8638BA variant in yellow gold was well received from 1977 onwards, with 112 watches sold, followed by an annual average of around 250. The more spectacular two-tone 8638SA version, which innovated by combining steel with yellow gold, proved a particular hit and 283 were sold in the year of its launch, a figure that doubled over the next two years!
The adventurous 1972 Royal Oak was the first series-made model in Audemars Piguet’s history to bear a name. The addition of Model 8638 in 1976 demonstrated that it could break its own rules and by 1977, the addition of new materials and dimensions gave it the status of a collection in its own right.
Editorial board: Audemars Piguet Heritage team, Le Brassus
First publication: 1st March 2022
1977. Royal Oak 8638BA, No. 1. Calibre 2062, movement 176166. Bracelet 424. T21 Tapisserie dial. Case B14001, 29 mm. 18-carat yellow gold. Sold to Darcal (Swiss market) on May 4, 1977. Audemars Piguet Heritage, inv. 1873.
1977. Royal Oak 8638BA, No. 1, caseback view. Date. Calibre 2062, movement 176166. Bracelet 424. T21 Tapisserie dial. Case B14001, 29 mm. 18-carat yellow gold. Sold to Darcal (Swiss market) on May 4, 1977. Audemars Piguet Heritage, inv. 1873.
1979. Royal Oak 8638SA (1977), No. 671. Calibre 2062, movement 192912. Bracelet 424. T21 Tapisserie dial. 29 mm case. 18-carat yellow gold. Sold in 1979, then gifted to the AP Museum in December 1983. Audemars Piguet Heritage, inv. 381.
1977. Orders for Model 8638 dials. Between February and May 1977, Audemars Piguet ordered 252 dials for gold 8638 Royal Oak watches from Stern Frères, in five different variations. Audemars Piguet Archives.
1977. Royal Oak Advertisement. Five years after its launch, the Royal Oak came for the first time in precious materials and in three different sizes. From left to right: 4100BA (35 mm), 5402ST (39 mm) and 8638SA (29 mm). Audemars Piguet Archives.
