The rules are made to be broken. No manufacturer knows this adage better than Audemars Piguet who, in 1972, came under fire from critics by presenting a sporty watch made of steel in the name of a tree, with visible screws and a porthole case. Professional detractors were certain: this watch would not be the year. Sales showed the opposite for decades to come. This watch was the "Royal Oak".
In keeping with the profoundly independent nature of the house he chairs, François-Henry Bennahmias was not afraid to take the Swiss factory out of his comfort zone once again. As an esthete, he preferred to highlight a watch that moves away from the factic shocks and which is appreciated in detail and in the long term. The "Code 11.59", of falsely classic bill, will be primarily a story of challenges to ease.
It would take whole pages to enumerate the technical wonders around which this collection is structured, which, for its realization, has developed new tools and new skills. The stylistic epic of Audemars Piguet refracts with a marvelous subtlety in the geometry of the box that combines round bezel and octagonal stature, in the doubly curved sapphire crystal, in the purity and depth of the topography, while six latest-generation gauges prove once again that the Brassus factory has only one obsession: the ultimate.