I’ve been a freelance journalist for 14 years, and while watches have been part of my repertoire since the beginning, I didn’t fully niche into the horological sphere until 2018. One of the assignments I consider to be a breakout story that really gave my career in the watch world momentum came a year later in 2019. At the time, I was writing for The Hour Glass, and I had the opportunity to cover the inauguration of the Gérald Genta Heritage Association. In my then seven-year journey ascending to full horological obsession, I had come to revere Genta as one of the most influential figures in the history of watchmaking, and, in particular, I was charmed by the story of how the Royal Oak came to be. Yes, I have since referenced, been told, and retold the tale dozens of times over, but for me, Genta and the creation of the Royal Oak – the moment that arguably gave his career in the watch world momentum – will never get old and forever hold a special place in my heart.
With that said, I’m here to share my hands-on experience with Audemars Piguet’s first semester novelties thanks to a recent trip to AP House in downtown New York City. Among them are several new versions of the Royal Oak, and while none of these are the frontrunner of the lineup, they still bear recognition in my humble opinion. Yes, I will have to respectfully disagree with my Editorial Director Zach Kazan’s opinion piece defining the Royal Oak as “a pure flex.” Sure, like countless luxury watches, there is a certain status associated with the Royal Oak in a way that is more commercial and therefore more widespread than say the status of the if-you-know-you-know models predominantly revered only by those deep in the trenches of watch nerdery. However, I also know there are countless others like me who have an authentic emotional connection to the Royal Oak and, more importantly, what it undeniably stands for in the context of horological history – this is the symbolism the Royal Oak holds in my eyes, not just one of status. I like to think AP has not just been “a willing participant in the watering down of their brand” by “producing more and more varieties of Royal Oak” for the fanfare but instead continues to iterate and reiterate on the model for those like me who have a heartfelt adoration rather than those who approach collecting like a bingo card.
If you’re still with me, let’s finally get down to the watches, starting with a brief look at the aforementioned Royal Oaks before getting into the star of the show: the Neo Frame Jumping Hour. The most ironic thing about my passion for the Royal Oak is that most models actually don’t look that great on my petite 5.75-inch wrist. From its early days, it’s been oversized (then 39mm) and in fact set the trend for those audacious proportions in the industry, particularly in the realm of luxury sport watches. In the latest lineup, we have some with extraordinarily strong wrist presence like the 42-43mm Offshores. Scaling down, a pair of 41mm QPs (one openworked in titanium and bulk metallic glass, another in ceramic) alongside a pair of straightforward openworked Royal Oaks in the option of 39mm for the titanium and BMG or 37mm for the classic yellow gold. A quick interjection for those wondering what exactly BMG is – AP gives a nice explainer here, but in short, it’s a metal with a glass-like structure that is both hard and elastic, making it virtually scratchproof but also able to return to its original shape after a small impact. Next up, a 38mm chrono with a new in-house caliber. Inching closer towards the dare I say more female-centric pieces, a duo of malachite dials in 41mm for the ladies desiring a bold look or the men in touch with their feminine side and a more pared down in 37mm. Last but not least, the ones for me: two new mini models, one in yellow gold with a MOP dial and one in pink gold with an onyx dial and a touch of bling.
Cait Bazemore
2026-03-10 18:00:00