The Royal Oak opens up to other materials

In the 1960s and 1970s, steel sports watches were not uncommon in the Swiss quality watch industry, with Rolex's Oyster, Omega's Speedmaster and Tag Heuer's Monaco among the most notable examples. However, the most prestigious brands, such as Patek Philippe, Vacheron Constantin and Audemars Piguet, had almost never made steel watches. These three companies, often referred to as the watch industry "triumvirate” because they were so prominent at the time, worked mostly with gold and platinum. Their rare steel creations were produced in extremely modest quantities: between 1934 and 1962, Audemars Piguet crafted 52 chronograph wristwatches, almost all unique (see Audemars Piguet 20^th Century Complicated Wristwatches). Another example is the selfwinding Model 5281ST produced in the early 1960s (illustration).

The fact that the Royal Oak broke every Haute Horlogerie rule in the book back in 1972 was not so much because of its material as its price. The extreme complexity of its steel exterior, endowed with prestigious finishes, placed it on a par with gold watches. The Royal Oak bridged the gap between two previously opposing worlds: craftsmanship and sport. It was aimed at a new generation that wanted a watch suited to a modern, versatile and faster-paced lifestyle. The concept was both radical and transgressive. It profoundly altered the status of steel, which became a noble material thanks to the work of the finest artisans and the fact that it was built into the watch design right from the outset, rather than being merely a variation. The success of the Royal Oak marked a milestone and carved a path that other players in the world of Haute Horlogerie would soon follow.

Whose idea was it to introduce gold into the Royal Oak collection? A study of the sources reveals several possible origins. Gérald Genta, the designer of the Royal Oak, had been wearing the Royal Oak 5402 no. A175 on his wrist since September 1972. At that time, he had distanced himself from Audemars Piguet, notably because he had just founded his own watch brand. In a recorded interview given in 2011, the man whom Asian collectors had nicknamed the "Picasso of Watches" tells how he replaced the bezel of his steel Royal Oak with yellow gold at a very early stage: "The Royal Oak I usually wear is in steel with a gold bezel. Georges Golay didn't know about this gold bezel, but I made one for Les Ambassadeurs [Editor’s Note: the famous Geneva retailer].” Genta explains that the latter had delivered 20 steel Royal Oak watches to him and that he had made gold bezels in his own workshops before reselling the transformed watches to Les Ambassadeurs for the retailer to market in the United States. Gérald Genta adds: "…because it is obvious that America at that time could not bear a watch that was any other colour than yellow.” For many regions of the world, including the United States, yellow gold was indeed long considered as THE metal for Haute Horlogerie watches.

The Audemars Piguet archives contain the manuscript of an unpublished book written by a certain Edgar Barry between 1993 and 1995 and devoted to the history of the Royal Oak. This document relates that the idea of a two-tone Royal Oak was born during a discussion between the Parisian jeweller Fred and Georges Golay on a sunny terrace in the south of France: "It was the kind of day which makes you feel that all is right with the world. And Fred, perhaps seeing a reflection of the sun on Golay's Royal Oak, said: ‘Why don't you do a version with a band of gold – mix the stainless steel and gold together?’”

In 1977, Jean-Claude Biver was responsible for the Swiss, German and Italian markets. In an interview from 2021, he explains more prosaically that the success of the Royal Oak in steel naturally inspired its variations in precious materials: "It was an obvious choice.”

The archives do not enable us to decide which of these three versions is the most accurate. No doubt all three were combined to produce the gold variations of the Royal Oak. Nonetheless, a close examination of the records reveals an unexpected fact: the first variations appeared not on the legendary Model 5402, but on the first women’s Royal Oak, Model 8638.

The first Royal Oak combining gold and steel was made for women. Model 8638SA (the "SA" code is a contraction of "ST" for steel and "BA" for yellow gold), bearing case number 14103, left Le Brassus on February 23, 1977 for the Swiss market, followed the next day by two identical watches – one destined for Italy and the other for New York. Three months later Model 5402SA made its debut. These two Royal Oak examples are among the first in history to associate steel with gold, on both case and bracelet, a combination which enriches the light effects with contrasting colours. Jacqueline Dimier designed these timepieces like paintings. The background was uniformly grey: from the bracelet to the case middle, slate grey T21 Tapisserie dial and crown. The gold components stood out, strongly highlighting their most salient features. The yellow gold bezel gave structure to the watch and framed the dial which was also enhanced by hands, hour-markers and the AP monogram, all crafted in yellow gold. Similarly, the bracelet featured gold studs adding further yellow accents.

From then on, the so-called "two-tone" or "bimetallic" Royal Oak watches were all to adopt this same principle. The bezel, studs and hour-markers/hands were interpreted in the same material (or the same colour) – whether steel, gold, platinum, titanium or tantalum – while a second material was reserved for the case middle, bracelet links and crown. In the space of 50 years, dozens of different combinations have been created. Among them are the "AC" with a yellow gold case and a white gold bezel, the "SP" which marries steel and platinum, the "TR" which unites tantalum and pink gold, and the "IP" titanium and platinum versions, etc. These codes are described in detail in the article dedicated to Audemars Piguet watch numbering.

Between 1972 and 1976, Royal Oak advertising relied heavily on the steel argument. The ads featured terms such as: "tribute to steel", "metal of the 20th century", "finest of steel", or "men of steel." The announcement was made that "the gold watch has found its rival in steel." Expressions abounded: "luxus in Stahl", "the most intractable of materials", "steel now a noble metal." Some ads asked: "What makes steel more valuable than gold?" and promoted "functional steel brought to its highest degree of refinement", because "materials alone do not make a masterpiece."

The introduction of gold in 1977 required a change in the sales pitch. The Heinz Heimann advertising agency, which took over from Hugo Buchser in 1975, managed the transition brilliantly. In 1977, steel was presented as the “starting point of a range of thoroughbred watches." The focus was on the bezel: "The entire world knows the distinctive bezel held with eight miniature screws." Thus, even in its new diversity, "the Royal Oak remains unique and exclusive. Through its satin finish, its audacious lines, by the perfection of its movement, it is coveted by those who know that the summum of watchmaking is a subtle alliance of technology and art."

As early as 1978, some adverts featured stories mingling humour with watchmaking messages. One of the most successful of these drew attention to the visible screws. As transgressive and innovative as steel itself, the screws became the focus of debate. In one scenario, two friends are leaning against a rail: "A price like that", he teased, "and they don’t conceal the screws?” A discussion ensues highlighting the watch's qualities, its character and its history.