CREATION OF DESIGN
The concept of luxury sports watches – which originated at Audemars Piguet – is deeply rooted in the principles and wisdom of good design.
In the 1970s, the world was introduced to the notion of a luxury sports watch. Historians point to the year 1972, when Gerald Genta sketched the Royal Oak design for Audemars Piguet. The resultant production and white-hot reception represented an inflection point in horology. Creative director Claude Emmenegger explains: “First we think about an idea and then draw it by hand. Our purpose is to be Zen, to simplify the house; we don’t need to invent or follow trends like a fashion house.”
With this year’s chronographs, seven models offer a two-toned dial design with subtle details. Chronograph counters increase in size, with shorter but wider hour-markers and additional luminescence for better readability. “To have a good clear watch – that is really important in representing a sports luxury timepiece,” Emmenegger enthuses. “The dial naturally gives the watch its charm and it took us three weeks to redesign this series of chronograph dials – to put the right proportion of indexes to hands for perfect balance.”
Despite its imposing look, Royal Oak maintains an impressive slimness, evoking a classy aesthetic that has become de rigueur in wristwatch design since. “Some people talk about the golden ratio – I don’t believe in that. To design watches requires a real and personal sensation.”
The litmus test comes when the design for the timepiece is printed on a one-to-one scale.
“We see the reality and I look at everything through a loupe to see how it comes together.”
Happily, the idea
“We see the reality and I look at everything through a loupe to see how it comes together.”
harmonious proportions and balance is available right at the doorstep of Audemars Piguet’s manufacture in Vallee de Joux. “The valley inspires us and helps us focus on the common sense behind good design. Nature simplifies things and we use that in our construction, such as applying a screw into a bridge only when necessary.”
If one were to compare this year’s Royal Oak to the first one of 1972, tiny but perceptible changes may be gleaned. “In the year 2000, I restyled Royal Oak to have slightly bigger screws, a new buckle and we changed the angles slightly to make it look stronger. But we didn’t talk about it because this was just about upgrading the design for a new generation.” In a nod towards the future, Emmennegger is using Royal Oak Offshore as a creative base to generate new ideas. From case shapes to materials, the aim is to build a vision of the future. “In high- end horology, it is now common to do so and with hard work, we will soon have a large new field to play with.”
From case shapes to materials, the aim is to build a vision of the future.