Audemars Piguet’s CODE 11:59 Is Not Good Enough
Ceremoniously unveiled in 2019, the CODE 11:59 is Audemars Piguet’s newest collection. Meant to usher in a new era of AP watchmaking, the contemporary-designed timepieces were quickly met with strong criticism. Since then, Audemars Piguet has slowly evolved the CODE 11:59 collection into something entirely different – but what does the story of the CODE 11:59 say about AP in 2023?
A “New Page” In AP’s History
Originally constructed of stainless steel with awkward and incomplete-feeling dials, the first years of the CODE 11:59 collection were plagued with criticism – rightfully so. The glossy lacquered dials were adorned with intricate guilloche, masterfully crafted in every technical way. The unprecedented double-curved crystal could only be described as mythical in its unique ability to diffract light and animate the dial without harming legibility. Completed with a layered case sandwiched layers of circular and octagonal pieces, the CODE 11:59’s construction is entirely complex, thoughtfully so. Yet still, the watches were ultimately under-thought, miscalculated, and lazy. Despite the amazing case, ingenious crystal, and intricate finishing, Audemars Piguet had released something decidedly sloppy and incomplete. The generic dial layout with poorly chosen indices, misplaced date window, and inelegant font choice, coupled with a slim bezel and large 41 mm case size were weak creative decisions, drawing surprisingly apt comparisons to infamous fashion brands such as MVMT and Daniel Wellington – names that watch enthusiasts can’t help but cringe at.
But the CODE 11:59 isn’t what it once was, it’s better – the newest references don’t resemble lackluster fashion watches as the initial collection did. Now with minute repeaters, perpetual calendars, grand sonnerie, tourbillion chronographs, and even AP’s StarWheel concept, spanning over 40 references constructed of precious metals, colored ceramics, and stainless steel. the CODE 11:59 has evolved into a complete collection, though entirely different from where it started. So what does the story of the CODE 11:59 say about Audemars Piguet?
As the 11:59 naming implies, the CODE 11:59 collection is meant to be Audemars Piguet’s last minute before a “new day.” Does it do that? In a way, yes. But in most ways, not at all.
Yes, the CODE 11:59 is truly does mark something new for Audemars Piguet. Over the years, AP has shifted its focus almost entirely onto the Royal Oak line and its “spinoff” Offshore and Concept lines so much so that they’d discontinued all other model lines (unfortunately including the brilliant Millenary line). Over the last 10 years, AP has delivered Royal Oak after Royal Oak and quite literally nothing else, so to say that the introduction of the CODE 11:59 is meant to usher in a new chapter for Audemars Piguet is not unbelievable. A new model line with no archival ties is a bold risk and was never going to be a universal hit.
The messaging is indicative of AP’s intentions here – the watch is meant to look like something new and shiny. Most CODE 11:59 promotional material is videos of a camera swiveling around the watch against a colorful background – simple and extremely boring, resembling a smartwatch commercial more than a haute horology timepiece from a Holy Trinity watchmaker. Other advertisements utilize the camera sweeping over young guys wearing their CODE 11:59s with casual wear. Even the name CODE is a corny acronym – meaning Challenge, Own, Dare, Evolve – that could be recycled from any number of school organization taglines.
Their approach to create something modern, something younger than a Royal Oak was almost laughable considering that the Royal Oak is an icon that has transcended any and all demographics. The model is immensely popular in pop culture thanks to celebrities and rappers – the Royal Oak is already Audemars Piguet’s key to younger customers, and there was virtually no need to create a new model line for this purpose. The CODE 11:59 is meant to be a true contemporary timepiece with a simple and modern design and neither deep roots in brand history nor classical design. This begs the question – why? How big is that audience? Who is going to buy an Audemars Piguet that isn’t a Royal Oak, isn’t classic design, isn’t unique, isn’t well recognized, and isn’t well received? The answer is almost no one.
A Series of Questionable Choices
The early time-and-date references feature a 3-6-9-12 layout in a 41 mm case in an assortment of precious metals and stainless steel. The shiny sunburst dials are largely standard but seem to be the primary point of focus on the dial, which is subsequently entirely boring. The date window is placed at 4:30 to be unnecessarily inconvenient and asymmetric. These are not good looking watches.
Losing the Arabic numerals for a set of baton indices, the basic guilloche dial time-and-date references are just-okay. Technically beautiful but not outstanding in any way, these references feel like an expensive way for AP to show off their guilloche and finishing skills – but it doesn’t make for a watch truly worth a release.
The early chronograph models are sporty but lack refinement in any way. While the time-only references felt too empty and simplistic, these dials feel far too busy with the addition of the three chronograph registers. The stark vignette on the intricate guilloche dials displays a huge array of color shades – a beautiful effect that is hindered by the sloppy subdial design which feels blocky and unfinished. There are too many colors, lines, numbers, and asymmetries on these dials, and the references that feature an Arabic-numeral 12 look mind-bogglingly lame, bearing far too much resemblance to fashion watches.
Evolution
I recall twice visiting the Audemars Piguet boutique in the DFW area, asking to see the CODE 11:59 both times, and being met with legitimate surprise from the sales professionals in the store. As a young 20-something watch enthusiast, I am perfectly suited to the model’s target demographic, yet was told by two separate salespeople that they didn’t expect me to ask for it, nor did they expect me to know about the model line. Obviously overshadowed by the Royal Oak, the CODE 11:59’s underwhelming reception and financial success could’ve been predicted by anyone and I’m sure Audemars Piguet expected it to some degree – so why risk unveiling a product line that is clearly not strong enough to be the only AP that isn’t a Royal Oak?
They created a watch between dress and sport, excelling at neither. The watch utilizes an octagonal shape to create a connection between it and the Royal Oak, establishing a throughline between AP’s offerings, yet hides the octagonal layer from most angles. The dials are entirely boring and attempts to be universally appealing to the average consumer, consequently feeling under-thought and incomplete. Even amongst AP’s recent missteps, the CODE 11:59 does not stand out. Overshadowed by the hugely disliked Black Panther and Spiderman collaborations and garish gemset releases (seemingly created just to increase online publicity and chatter), the discussion for the CODE 11:59 is scarce – it’s not the “forgotten” AP, it’s the AP that never was.
So AP has made an effort to do the smart thing – adjust the CODE 11:59 model line to mitigate the miscalculations they made with the original release. Retaining the phenomenally designed case and crystal, the CODE 11:59 has become grounds for experimentation. On the other hand, the Royal Oak is a money machine, but obviously is no blank canvas – the octagonal case and bezel screws, Tapisserie dial, and robust industrial look are all necessary staples for any Royal Oak. The CODE 11:59 is nothing more than an opportunity than for Audemars Piguet to do what they want, whether it’s meant to keep their designers satisfied or simply just to say that they sell something that isn’t a Royal Oak, the CODE 11:59 is a fresh, clean slate.
Are There Any Worth a Look?
Whether or not AP intended it, the dial of the CODE 11:59 is its dominant feature. Amplified by the thin bezel and double-layered crystal, the dial of the timepiece overpowers the exceptional “sandwich” case on wrist and especially in pictures, as the octagonal middle layer of the case is virtually invisible from many angles. So the dial was all that critics could focus on when AP delivered subpar, uninspired dials displaying an uncharacteristic misunderstanding of proportions, negative space, font choice, and indices. Now in 2023, the most impressive and well-received CODE 11:59 releases are the high complication references whose dials bare little resemblance to those of the original release. Instead, they notably draw inspiration from AP’s own historic catalog as well as classic design trends that have remained timeless for years.
The Ultra-Complication Universelle references contain 23 complications (and 40 funcitons), which AP touts as its most complicated watch ever. They feature classic design elements, borrowing the elegance of classic chronograph timepieces while simulatenaously building upon these principles with the contemporary DNA of the CODE 11:59, namely in the subdial design and the inclusion of a flying tourbillion. The Perpetual Calendar references with aventurine dials are entirely elegant, striking a delicate balance between romantic classical design and contemporary flare.
AP’s cult-classic StarWheel complication – the maison’s version of the wandering hours complication – makes a return in the CODE 11:59 case as well, featuring an aventurine dial and PVD-coated aluminum hour discs. Entirely unique, beautiful, and absolutely nothing like the original CODE 11:59 pieces.
The Minute Repeater Supersonnerie and Flying Tourbillion references are hyper-modern in approach but tasteful in execution – something that cannot be said about the basic collection of CODE 11:59 pieces.
Some Perspective
When the initial release was met with stark criticism, representatives and executives of the brand publicly scrambled to defend the model, rather unconvincingly.
Revolution Watch’s Wei Koh spoke to Audemars Piguet CEO Francois-Henry Bennahmias and served as victim to Bennahmias’s aggressive man-splaining. Throughout the conversation, Bennahmias’s demeanor and talking points were entirely indicative – he knew he had delivered a terrible watch and had invested far too much into it to do anything but vehemently defend it. He drew blasphemous comparisons to the Royal Oak, created entirely hypothetical scenarios to try to justify low interest in the CODE 11:59, and cherry-picked positive feedback by literally pulling out his phone and showing off a singular email he had received praising the new model. His comments displayed a clear lack of respect for not only Wei Koh but individual critics and the target audience as a whole – as if to say, “if you don’t like the CODE 11:59, you are wrong.” Refusing to acknowledge the possibility of a misstep, Bennahmias chose to distastefully berate viewers and instead spew out condescending poorly-phrased rhetoric.
Francois-Henry Bennahmias’s reaction was just one of many that led me to believe there is some sort of collective misunderstanding within Audemars Piguet. The watchmaking and technical manufacturing may be brilliant, but the decision-makers seem – for a lack of a better word – confused, like students who didn’t study and prefer to bash the education system for their own failures. Misstep after misstep, watch enthusiasts are certainly souring on Audemars Piguet (with the exception of the Royal Oak). AP has been resting on their laurels for years now and will be able to do so for several more years. Pretending that the CODE 11:59 collection will be a future icon is unrealistically optimistic, especially when accounting for the fact that Audemars Piguet isn’t a believer in their own collection.
Unceremoniously, Audemars Piguet pivoted the collection toward ultra-complications and increasingly brilliant pieces of haute horology exhibiting their watchmaking prowess and longstanding excellence as a watchmaker, rather than to make anything similar to the early CODE 11:59 references, which were seemingly designed to appeal to young people and be trendy. The brand made sure to do this quietly, as to not be too obvious that they are aware they faltered with the original models. Meant to be an entirely unique offering in their catalog, the CODE 11:59 is marketed as “writing a new page in the Manufacture’s history,” yet the models in 2023 are much less like the original CODE 11:59 and more of the same-old same-old – not truly a “new page” after all.
It’s rare to see an esteemed watch house blunder so loudly. Such significant criticism is nearly non-existent for other Holy Trinity watchmakers Patek Philippe and Vacheron Constantin, whose brands are likewise in transitional periods of awkward flux as they attempt to balance their catalogs.
The story of the CODE 11:59 is a fascinating case study. Audemars Piguet’s continuous missteps and misjudgements are now a habit, likely indicative of the brand’s future path. AP will continue to successfully market and sell Royal Oaks for as long as watches are worn, but the watchmaking house could benefit from some perspective.
Presently, Audemars Piguet is trending towards being just another brand rather than one of the ultimate Swiss watchmakers as it had been in years past.
