Audemars Piguet is celebrating its 150th anniversary in September, and the message is surprisingly consistent: take complications the brand knows well and make them easier to wear. Instead of overwhelming collectors with massive cases or overly complex displays, AP has chosen refinement. The result is two distinct releases. On one side, the perpetual calendar shrinks into a 38 mm format across both the Royal Oak and Code 11.59 collections. On the other, the Code 11.59 Selfwinding Flying Tourbillon returns in a trio of stone dials that give the watch a more personal and tactile feel.
The Perpetual Calendar in 38mm
Perpetual calendars have always carried an air of mystery, admired by collectors but often worn with hesitation. Why? Because the movements are delicate, the cases usually large, and the setting process intimidating. AP has addressed all three issues with the new 38 mm models.
The Royal Oak versions are instantly familiar, yet subtly updated. One is in stainless steel with a light blue Grand Tapisserie dial, the other in 18k rose gold with a beige dial. Both keep the iconic geometry of the Royal Oak case, but inside beats the new Calibre 7136, a variation of the 7138 that first appeared in 41 mm models. The biggest difference? The removal of the week indicator. By simplifying the display, AP improves legibility without compromising accuracy. The movement itself is only 4.1 mm tall, delivers 55 hours of power reserve, and handles all functions through the crown.
The Code 11.59 perpetual calendar stays more traditional, retaining the week indicator and using the Calibre 7138. At 38 mm by 9.9 mm, the watch feels slimmer and more approachable. The green embossed dial, designed with guilloché specialist Yann Von Kaenel, plays with light in a way that avoids the monotony of stamped patterns. It is still a perpetual calendar, but one that does not demand constant caution.
A Friendlier Interface
One of the quiet revolutions here is the removal of case-side correctors. Instead of poking at pin-pushers with a tool, owners now make adjustments entirely via the crown, which has four positions. A sliding-pinion system connects the crown to the calendar mechanism. Even better, a safety window on the 24-hour scale warns against setting during the changeover hours of 9 pm to 3 am. If you do forget, the movement architecture is designed to absorb the mistake without damage. It sounds like a small detail, but for many collectors this reduces the fear of actually using the watch.
The dial layouts also benefit from rethinking. Day at nine, date at twelve, month and leap year at three, and the moon-phase at six. It looks more balanced, easier to read, and more natural. The moon disc uses a NASA-derived image of the lunar surface, grounding the complication in a touch of realism. And if you look closely at the date sub-dial, you notice the evenly spaced numerals, the result of a patented 31-tooth wheel. Again, subtle changes, but together they add up to a calendar that feels less intimidating.
Royal Oak or Code 11.59?
Choosing between the two perpetual calendar lines comes down to personality. The Royal Oak models stick to familiar signatures, whether in the cool steel and light blue combination or the warmth of pink gold with beige. The snailed counters and luminous hands keep readability intact, while the case dimensions bring the complication into a more wearable space.
The Code 11.59, on the other hand, leans into design. The concentric guilloché circles punctuated by small holes create a play of texture that rewards close inspection. It still feels like a Code 11.59, with its hollow lugs and complex mid-case architecture, but it no longer feels oversized or reserved only for special occasions.
Each perpetual calendar is limited to 150 pieces, with commemorative engravings and, on some versions, the vintage “Audemars Piguet” signature on the moon-phase disc. It is a subtle but elegant way to mark the anniversary year.
The Return of Stone Dial Tourbillons
If the perpetual calendars are about usability, the September tourbillons are about surface and color. AP revisits its experiments with hard-stone dials from the 1960s, this time in the Code 11.59 Selfwinding Flying Tourbillon. The case shrinks to 38 mm by 9.6 mm, proportions that balance presence with comfort.
Three stones are offered: ruby root in red, sodalite in blue, and malachite in green. Each is paired with a precious-metal case that amplifies the dial‘s tone. White gold for ruby root, pink gold for sodalite, yellow gold for malachite. The dials are wafer-thin slices, polished to reveal natural veining and variations. No two are the same. Ruby root is sourced from Tanzania, sodalite from Brazil, malachite from Zambia. AP even nods to their symbolic meanings: vitality, calm, transformation.
At six o‘clock, the flying tourbillon sits in a cage made of the same alloy as the case, leaving the stone dial to shine as a backdrop. The movement inside is the Calibre 2968, just 3.4 mm thick, originally developed for the Royal Oak RD#3. It uses a peripheral drive and a titanium cage, keeping weight down and energy stable. The flying architecture, supported only from below, makes the visual impression even stronger.
Everyday Wear, Not Just Showpieces
What is striking about both collections is the restraint. These are not anniversary fireworks designed for museum vitrines. The perpetual calendars reduce friction, making one of horology‘s most intimidating complications less daunting. The stone-dial tourbillons bring artistry but keep proportions practical enough for daily wear.
The calendars are limited to 150 pieces each, priced at CHF 82,500 for the Code 11.59, CHF 86,500 for the Royal Oak in steel, and CHF 122,500 for the Royal Oak in pink gold. The stone-dial Code 11.59 Flying Tourbillon is also limited to 150 pieces, priced at CHF 140,000. Availability begins in September.
Final Thoughts
Anniversary years often tempt brands into spectacle. What Audemars Piguet has done instead is quietly more interesting. By focusing on 38 mm cases, user-friendly calendars, and stone dials that feel genuinely unique, the brand shows that maturity in watchmaking is not just about technical feats but about understanding how watches fit into lives.
As someone who has always admired perpetual calendars but hesitated to wear one daily, I find the crown-only adjustment system particularly clever. And when I look at those malachite tourbillons, I cannot help but imagine choosing one simply for its mood on a given morning. After all, isn‘t that what owning a great watch is about — not only marveling at the movement, but also enjoying it as part of everyday life?