Watches & Jewellery
Ilaria Resta, CEO of Audemars Piguet: “We are launching a High Jewelry line to amplify the brand’s savoir-faire”
Audemars Piguet is announcing the launch of its first jewelry collection, inspired by the codes of the Royal Oak. Ilaria Resta, the brand’s CEO, is clear about her intentions: Audemars Piguet is entering the jewelry world not to create a new business unit, but to sharpen and amplify its watchmaking expertise.
Born from intimate exchanges with a handful of Asian clients, yet already completely sold out ahead of its launch, this first collection of spectacular pieces — including Dream of Joux, Risoud Eclipse and Frosted Gold Royal Oak — embraces a clear ambition: to push the creative language of the Royal Oak to its limits by extending its scope into jewelry, while deliberately rejecting a volume-driven approach.
For Ilaria Resta, “jewelry is neither an opportunistic shift nor a short-term growth driver.” Under her leadership, it is becoming a strategic tool for developing watchmaking expertise and a testing ground for the skills of lapidaries, gem-setters, engravers and gemmologists — skills that directly serve the world of watchmaking, including the brand’s new Atelier des Étabisseurs collection, launched last April.
In an exclusive interview, Ilaria Resta explains why, in the highly codified world of haute horlogerie, Audemars Piguet is opening up this new avenue.
Newsletters
Cet article vous plaît ?
Inscrivez-vous à nos newsletters pour recevoir les dernières publications et analyses selon nos 4 thématiques:
Today, Audemars Piguet is launching a high jewelry line. Why this move?
Jewelry has been part of Audemars Piguet for much longer than one might sometimes think. One only has to look at the execution of the Royal Oak case and bracelet to see the jewelry-inspired approach, with its interplay of light. I wanted to revisit the métiers of jewelry craftsmanship; the concept behind L’Atelier des Étabisseurs emerged from this process, shining a light on the expertise of the lapidary, the gem-setter and the engraver. The project for the Royal Oak Jewelry collection developed progressively, rather than from any single defining moment.
Royal Oak “Risoud Eclipse” set consisting of a necklace and a cuff bracelet in blackened titanium and 18-karat white gold, set with sugarloaf emeralds and brilliant-cut diamonds (AP)
In 2024, we launched the Royal Oak Mini, which very quickly began to be worn in stacking, much like jewelry. Seeing the way they were worn led me to explore how the language of the Royal Oak bracelet could exist on the wrist when it was no longer attached to a watch. Then, through conversations with our clients — particularly during a brainstorming weekend in Hong Kong — that intuition became more tangible. We discussed concepts and design, as well as their everyday lives. That was when the idea of creating a jewelry collection was born.
Together with these clients, we developed the cuffs that are being unveiled as part of the launch of this collection. These women are accustomed to collecting both watches and jewelry. I was able to see just how legitimate Audemars Piguet is in this world. Listening to their expectations and desires was fascinating.
Will production be limited?
Yes, it will be produced in very limited quantities, and we have not set a specific sales target, because that is not the primary purpose of this collection.
When you spoke about these women’s desires, what were they looking for?
The Royal Oak’s design is very appealing, particularly its interplay of light and its architecture. Our clients enjoy accessorising it with jewelry that incorporates some of its distinctive codes. Those who wear our watches were looking for a piece of jewelry that could engage in a dialogue with this design language.
Will this collection be exclusively tied to the Royal Oak?
Royal Oak “Dream of Joux” tie necklace in blue titanium and 18-karat white gold, set with pear-shaped diamonds and snow-set blue sapphires (AP)
Yes. There are three important points here. First, we wanted to create a jewelry extension of the Royal Oak universe. Second, we wanted to develop in-house expertise that could, in turn, enrich our watchmaking. With collections such as Atelier des Étabisseurs and Neo Frame, we have broadened our range of expertise through disciplines such as gemmology, gem-setting and lapidary work.
With Royal Oak Joaillerie, we will amplify these crafts and skills that existed within the company in the past, but that we had subsequently lost.
Is this still high jewelry?
The ambition is to create a breathtaking collection that pays tribute to the Royal Oak while going beyond simply transposing its codes onto jewelry. I love this encounter between the strength of the Royal Oak and the delicacy of precious stones. What is certain is that we see this collection as the beginning of a jewelry language that we will evolve over time, always with the same level of excellence, creativity and craftsmanship.
The collection will evolve over time, always maintaining the same high standards, creativity, and craftsmanship that are characteristic of Audemars Piguet (AP)
What are your limits?
We do not impose any limits on ourselves. However, two questions must guide the project: Is it legitimate for Audemars Piguet? And does it allow us to advance our expertise? Jewelry is an investment whose purpose is to develop skills and expertise for watchmaking. In that respect, jewelry will give us a new creative breadth.
Does the success of the Établisseurs Galets watch, and your difficulties in keeping up with production demand, tie into this thinking?
Yes, the Établisseurs Galets project is very much in line with this approach. It showed the value of mastering more specialised and demanding skills, but also the importance of developing these capabilities over time. Jewelry follows the same logic: it requires patience, precision and an exceptionally high level of execution.
So this jewelry launch fits perfectly into that approach?
Jewelry revenue is not the central focus; what interests me greatly is everything that can feed into and enrich watchmaking. We are not looking for growth drivers in jewelry, we are looking for the expertise and creativity associated with it.
Success does not come from a forced desire to succeed, but from processes of reflection, chance, listening and inspiration — particularly inspiration drawn from the past. Ultimately, it was a very organic process.
How did the board of directors react to the idea?
Very well. They support the launch.
What production capacity have you planned?
This is a long-term project. We are starting with small quantities, particularly in high jewelry, where pieces are made to order and can require several months of production.
Will everything be produced in-house?
No, that is not our intention. We want to support the external expertise we need. Bringing everything in-house would weaken creativity. Once again, we do not want to make jewelry our core business. It is a means of elevating and broadening our expertise.
That is exactly what we are doing with Atelier des Établisseurs, which, incidentally, was initially conceived around just a few pieces for Watches and Wonders. I never expected it to be such a success.
It is also a project I worked on with Sébastien Vivas, Audemars Piguet’s Director of Heritage and Museum, rather than with the manufacture itself. It was only when we realised how successful the project was and how strongly it resonated that the product teams joined the discussion — much like with the Royal Oak Joaillerie project.
Have you always operated this way, working in a self-contained environment?
Yes, I believe it is the best way to approach things. Not having a business target gives us freedom. I like the idea of creativity being driven by its own momentum, rather than being guided by sales.
Yet this launch is far from insignificant. Even if it comprises only a handful of pieces today, it will undoubtedly be closely watched by the industry…
Yes, I imagine the launch will be closely scrutinised. But honestly, giving creativity free rein remains fundamental. The Royal Oak Joaillerie collection will be unveiled in Paris, one of the world’s great centres of high jewelry, and will then be presented in several cities around the world through bespoke events.
These creations will not be offered in boutiques or displayed in windows. They will be discovered in a more intimate setting, one that reflects their singularity.
Have they already all been sold?
The enthusiasm has been exceptional, and indeed, the majority of the creations have already been reserved. You really have to see them worn — particularly the titanium and emerald piece, or the Dream of Joux necklace, which is magnificent.
Are there other creative playgrounds that are inspiring you at the moment?
The Neo Frame collection is one area where I would like to introduce further creative experimentation. Its shape, structure and modernity offer fascinating fields of expression.
After three years at the helm of Audemars Piguet, how would you sum up your tenure in a few words?
It is a moment of truth, which began at Watches and Wonders 2026. What we presented there brought together the key elements of my strategy: opening watchmaking up to a broader audience, deepening our understanding of our craft, and elevating our expertise.
Commercial success is there, but above all, what I find most rewarding is seeing our creative propositions grow, including the projects we have discussed in this conversation. They are the finest expression of that ambition.
Partager l'article
Continuez votre lecture
Watches & Jewellery
Ilaria Resta, CEO of Audemars Piguet: “2% of our turnover are allocated to sustainability projects through our two Foundations”
With the publication of the “2025 Sustainability Report”, Audemars Piguet has clearly set out its sustainability objectives, which the brand has supported with several commitments, including the phasing out of ruby sourcing and the allocation of 2% of its turnover to its two Foundations. Luxury Tribune was able to conduct an exclusive on-camera interview with Ilaria Resta, the brand’s CEO, about these developments.
Watches
Why is Audemars Piguet Reviving the “établissage” Technique?
Under the leadership of Ilaria Resta, CEO of Audemars Piguet, this watchmaking method—which enjoyed its golden age during the 19th century—is being brought back into the spotlight. At Watches and Wonders Geneva on Tuesday, the brand exclusively unveiled its three new timepieces from the “Atelier des Etablisseurs” project.
Newsletters
Cet article vous plaît ?
Inscrivez-vous à nos newsletters pour recevoir les dernières publications et analyses selon nos 4 thématiques: