However, Michael Friedman, historian at Audemars Piguet, who knows a thing or two about what makes an icon, is fully behind this new design. Friedman believes all it will take for the Code 11.59 to join the legendary ranks of Audemars Piguet icons Royal Oak and Royal Oak Offshore is a little time.

“It’s been an amazing ride, one with controversy, with divisiveness with different opinion, different viewpoints. For me, the beautiful thing to see, to happen, is for people to see and analyse the watch. We’ve had a phenomenal response on the perpetual calendar, the minute repeater especially. ”

Friedman says he remains delighted by the detail and craftsmanship that’s been put into the timepiece.

“I’ve seen the development of the watch since the very beginning, but it still continues to surprise me to this day, and I’m still discovering new design details that I hadn’t noticed before,” he says.

The Code 11.59 is indeed loaded with small details, which require a face-to-face encounter to truly appreciate. The round piece’s octagonal middle case, a shape that has become practically synonymous with the house, is a nod to the Royal Oak.

The lugs have become a much-talked-about element. Openworked and welded to the bezel and not to the case itself, the design lends lightness to the construction of the piece. The domed sapphire crystal extends to the very edge of the case, giving the dial an appearance that is much larger than its 41mm diameter. The piece, which is not specifically designed for men or women, fits well on most wrists.

While an entirely contemporary creation, the unconventionality of the piece, says Friedman, is true to the DNA of Audemars Piguet.

“It’s a watch we knew had to be unapologetically contemporary. It had to be something of today and of tomorrow. When you look through the history of AP watches, there’s this uninterrupted history of high unconventionality with regards to case form and dial design, and that’s no accident,” he says.

Particular well received, according to Friedman, are the chronograph, the perpetual calendar and the minute repeater. With a production of just 2,000 pieces combined for all 13 references this year, the collection is meant to grow while maintaining its exclusivity.

At the end of the day, Friedman says, the core of Audemars Piguet’s watchmaking lies in its know-how, and that is what will propel a design like Code 11.59 forward.

“When you start to see how it’s constructed, how it’s finished, how it’s made, what I’m most happy about is when people can recognise the work, and appreciate the work of the case makers, and the watchmakers. The power of the company resides on the bench; that’s where the creativity comes from. So it’s OK to love it, it’s OK to not love it; as long as there’s respect for the work that the craftsmen do.”

And indeed, the expertise of the craftsmen at Audemars Piguet extends beyond that of mechanical know-how to the world of jewel making and gem set. The watchmaker unveiled a one-of-a-kind timepiece so out of this world it wouldn’t look out of place on the wrist of a heroine out to save the universe.

The Haute Joaillerie Sapphire Orbe sports a dial that is set on an orb that can be turned over and hidden within the spacecraft-like bracelet. Set with 2,794 orange sapphires, 3,240 blue sapphires, and 6,069 brilliant-cut diamonds for a total of 66.1 carats of sparkle, it is one of the most ambitious bejewelled undertakings seen this year.

However, Audemars Piguet did not forget its Royal Oak fans. One of the most talked about pieces this year is the Royal Oak Frosted Gold Double Balance Wheel Openworked “Rainbow” with the same distinctive octagonal shape and 32 baguette-cut sapphires weighing 2.24 carats accenting the bezel alongside signature screws. The frosted white gold case and openwork dial is further contrasted with gold double balance wheels and hour markers and hands in pink gold.

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