The Royal Oak “Jumbo” Models

In watchmaking, the perception of size is eminently subjective, personal and above all cultural, while also influenced by the state of technology. Let’s take a brief look back at the major stages of this evolution.

The history of horology, and more generally that of technology, can be envisioned through the prism of miniaturisation. For example, from the 15th century onwards, some belfry clocks occupied an entire purpose-built tower. As the size of the mechanisms decreased, clocks made their way indoors into castles, palaces and subsequently bourgeois buildings. They were initially affixed to walls, high up so as to leave space for the weights driving the mechanism. Little by little, they shrank to a table clock format. From the 16th century onwards, they could be worn either around the neck, on the belt or in the pocket.

By the time the wristwatch became popular in the 1920s and 1930s, the miniaturisation of mechanical movements had reached its ultimate stage. Brass and steel components could not be made any smaller without threatening timepieces’ reliability. As a general rule, each reduction in a movement’s dimensions leads to an exponential decrease in the precision tolerances of its components. The slightest inaccuracy can be fatal to the mechanism. In 1927, Audemars Piguet became a master in this field, creating the world's smallest mechanical movement: Calibre 5/7BF measuring a mere 15.9 mm x 5.8 mm.

Having reached their extreme point of miniaturisation, wristwatches then began moving in the opposite direction. Decade after decade, their dimensions became increasingly generous. During the 1920s, the measurements of men's wristwatches were almost always less than 30 mm in diameter across the entire watch industry. It was not until the second half of the 1930s that watches with a diameter of more than 32 mm appeared and only in the 1950s that over 35 mm models began to make their mark. This evolution was notably due to the development of selfwinding watches whose mechanism required more space, as well as to the socio-economic context. The acceleration of activities, travel and lifestyles called for enhanced ergonomics and a larger dial size was required to ensure legibility.

From the second half of the 1970s, the Royal Oak became a collection. In response to market demand, Audemars Piguet created smaller versions. The women’s Model 8638 designed by Jacqueline Dimier in 1976 measured just 29 mm in diameter. From 1980, it was followed by numerous other feminine models with a diameter of 30 mm (6008, 4587, 14470, etc.) and even 26 mm (6010, 6012, 6007, etc.). This miniaturisation reached its limits in 1997 with the Mini Royal Oak family, featuring a diameter of 20 mm (67075, 67076, 67287, etc.), notably created for the Japanese market.

The men's models were also shrinking. Introduced in 1977, the Royal Oak 4100 measured 35 mm in diameter and set a new standard. For six years, all the new mechanical men's models (4120, 4153, 4331) featured this diameter, as did some quartz models (6023, 6036, 6037, etc.). The lines shifted slightly in 1983 and from then on, the 35 mm size continued to appear in only a few rare models (14544 in 1987; 14486, 14567, 14575, 14674 in 1990), whereas the new 36 mm standard prevailed for two decades.

The wild child had mellowed. The Royal Oak was no longer oversized or exclusively in steel, but also available in gold, in gemset versions, etc. Equipped with Calibre 2125, Model 4332 introduced in 1983 heralded the line of 36 mm Royal Oak watches. That same year, the range was enriched with calendar functions (Day Date, 5572, 5581, 5584; moon phases 5658, 5595). This was followed by "three-hand" models, including Model 14498 (1986), the Royal Oak 14700 (1990) as well as its derivatives 14701, 14702 and 14704 released two years later. The year 1992 saw the birth of Model 14790, which remained the central model in the Royal Oak collection for over a decade.

This evolution explains why the term “Jumbo” remained associated with the original Model 5402. It is even likely that this nickname became established during the 1980s and 1990s. When referring at the time to the first Royal Oak, adding the epithet “Jumbo” ensured a contrast with the 36 mm models dominating the market. For three decades, the only 39 mm Royal Oak models were those with a perpetual calendar, simply because Calibre 2120/2800 featured the same base movement as the original model from 1972. In such cases, the diameter of the watch is dependent on that of the mechanism it houses.

During its first 20 years, the Royal Oak (excluding perpetual calendar versions) came in just one 39 mm version, 95% of which were sold before 1982.

It was not until 1992 that the "Jumbo" version was revived to mark the 20^th anniversary of the Royal Oak. By then, the Royal Oak had become a watchmaking icon and an essential collection for Audemars Piguet, which offered around 20 models in a wide range of variations. An anniversary often provides an opportunity for a return to roots. Issued in a 1,000-piece limited edition, the Jubilee 14802 paid tribute to Model 5402. In all, 691 examples were produced in steel, 286 in yellow gold, along with 20 in platinum from 1995 onwards.

Model 14802 introduced the first salmon pink dials as well as hammered "Tuscany blue" iterations, although there is no record of how many of these special dials were produced. In addition, a sapphire caseback revealed Calibre 2121 and most of the latter’s gold oscillating weights featured an anniversary motif accompanied by the case number.

The archives reveal that as early as 1991, technical plans were ready to relaunch a non-limited Royal Oak "Jumbo" in the current collection, with a solid caseback. However, Steve Urquhart and Georges-Henri Meylan, who were co-directors of Audemars Piguet at the time, put the project on hold until the 1,000 examples of Model 14802 were sold out. That took four years, compared with the less than two years required to distribute the first 1,000 Royal Oak 5402 watches 20 years earlier.

In 1996, Audemars Piguet had a stock of 350 Calibre 2121 ébauches and the time had come to case them up. Model 15002 was finally launched in 1996. Its production was limited however, as out of the 14,000 watches planned for that year, only 100 were Royal Oak "Jumbo" watches! The following years confirmed these extremely modest proportions. In three years, 174 of these timepieces were produced in steel and 12 in yellow gold.

From aesthetic and technical standpoints, Model 15002 was the one most closely resembling the 5402 from 1972 – so much so that many components were interchangeable with the latter. The architecture of the exterior showed little change: a monocoque case with a solid caseback, a Tapisserie dial, a tapered bracelet and an oversized seal. Only the angle of the bevelled bezel was slightly modified to reach 45 degrees, compared with 40 degrees for Models 5402, 14802 and future 15202. It is also worth noting the monogram AP at 12 o’clock and the AUDEMARS PIGUET signature featuring slightly more generous dimensions than in 1972. Although respectable, this utmost fidelity to the origins of the watch had reached its limits. In order to enter the third millennium in due style, the Royal Oak "Jumbo" had to be renewed – and that is exactly what Model 15202 would accomplish.

From the Royal Oak’s 40^th anniversary in 2012 onwards, Model 15202 set the watchmaking world on fire. An anniversary book by Martin K. Wehrli and Heinz Heimann was published and a major retrospective exhibition toured the world.

But above all, the 15202OR (pink gold) and ST (stainless steel) were equipped with dials faithful to the 1972 series A, with the AP monogram at 6 o'clock, Petite Tapisserie motif and Bleu Nuit, Nuage 50 colour. A modernised openworked variant was introduced, with pure lines and blackened bridges: Model 15203 initially issued in a 40-piece platinum limited edition, followed by a pink gold iteration. The yellow gold Royal Oak 15202 disappeared temporarily – to return in 2017 with blue and gold-toned Petite Tapisserie dials. In 2014, the 15202 Grande Tapisserie variants disappeared from the catalogue. More importantly, the 15202 became the only 39 mm model in the collection (along with its derivative 15205), as the Royal Oak 15300 (39 mm, Calibre 3120) was replaced by the 15400 (41 mm) in 2012 and the Royal Oak Perpetual Calendars also shifted up to 41 mm in 2015 (Calibre 5134).

After several decades of discretion, the Royal Oak "Jumbo" enjoyed renewed popularity by combining tradition and modernity. Demand rocketed. In response, workshops grew and watchmakers were trained in the secrets of ultra-thin Calibre 2121, which had been made in-house since the 2000s. Efforts were focused on increasing production. Having started with an annual production of a few dozen, Audemars Piguet managed to deliver more than 1,000 of these timepieces from the mid-2010s. At the same time, the market for old Royal Oak "Jumbo" watches was growing rapidly and enthusiasm was the order of the day.

2018 marked the revival of bimetallic variants, which had been absent since the 1970s. This time, titanium was combined with platinum in the Royal Oak 15202IP, featuring a gradient-effect smoked blue dial. Three years later, in 2021, platinum made a comeback (after the 20 examples of Model 14802) in a variant with a smooth smoked green sunburst dial. It was in April of that same year that François-Henry Bennahmias – at the helm of Audemars Piguet since 2012 – made headlines by announcing the end of Model 15202. A very last version was created for the Only Watch charity auction, with a case in beadblasted titanium and a polished bezel in metallic glass – a palladium-based alloy representing a first for AP. On November 6th, 2021, this Royal Oak "Jumbo" was sold for CHF 3 100 000.-.

Since June 2020, a full showcase pays tribute to the Royal Oak “Jumbo” at the Musée Atelier Audemars Piguet in Le Brassus, with nine variations displayed. These timepieces narrate 50 years of history and radiate around one example of Model 5402, A26 series.

Editorial board: Audemars Piguet Heritage team, Le Brassus 

First publication: 24 January 2022