Piaget Turns Andy Warhol’s Camouflage Into Stone Marquetry

Piaget’s latest Andy Warhol watch doesn’t try to shrink a painting onto the wrist.

Instead, the Andy Warhol ‘Camouflage’ translates the language of Warhol’s 1986 self-portraits into a dial built from ornamental stones and gold, using the Maison’s own decorative vocabulary rather than a literal reproduction.

Limited to 86 pieces, it’s the second watch from Piaget’s collaboration with the Andy Warhol Foundation for the Visual Arts and one of the brand’s most explicit meetings of art, jewellery craft and watchmaking.

At a glance

• Piaget has unveiled the Andy Warhol ‘Camouflage’, an 86-piece limited edition inspired by Warhol’s 1986 ‘Camouflage’ self-portraits.
• The dial is assembled from 27 elements in sodalite, turquoise, satin-finished yellow gold and polished rose gold.
• The reference G0A51242 is priced at €92,000 including VAT and is powered by Piaget’s self-winding 501P1 movement.

A Warhol link that predates the collaboration

The formal partnership between Piaget and the Andy Warhol Foundation is recent, but the connection between the artist and the watchmaker runs deeper.

Warhol owned seven Piaget timepieces, among them the cushion-shaped model now known as the Andy Warhol watch.

That design began as the 45 mm reference 15102, created by Jean-Claude Gueit, Piaget’s artistic director at the time, and produced in limited numbers between 1972 and 1977.

Piaget later revisited the form as the Black Tie Vintage in 2014, before a 2024 licensing agreement with the Andy Warhol Foundation allowed the Maison to use the artist’s name and develop an annual series inspired by his work.

The first watch in that programme was the ‘Collage’ edition, presented in 2025 with a dial combining pink opal, green chrysoprase and yellow serpentine.

Camouflage interpreted through gold and stone

For the 2026 edition, Piaget looks to Warhol’s ‘Camouflage’ self-portraits, works in which a vivid camouflage motif is laid across the artist’s face.

Rather than copying the image, Piaget has broken its energy into a geometric dial composition of blue-toned stone and precious metal.

The dial combines sodalite and turquoise with satin-finished yellow gold and polished rose gold, arranged across 27 individual elements.

The contrast is central to the watch, with natural stone texture set against two different gold finishes to create a surface that feels closer to marquetry than illustration.

Piaget says developing and producing the dial required more than 100 hours of work.

That emphasis on ornamental stone is not incidental, since the Maison has been pairing gold with hard stones since the early 1960s and has made the approach one of its recognisable design signatures.

The cushion case keeps its sculptural presence

The Andy Warhol ‘Camouflage’ uses the familiar cushion-shaped case of the collection, measuring 45 x 43 mm.

For this edition, the case is made from rhodium-finished 18-carat white gold.

The gadroon decoration replaces a conventional bezel, giving the watch a raised architectural edge around the dial rather than a flat frame.

Dauphine hands keep the display restrained, with only hours and minutes indicated.

A blue alligator leather strap completes the composition and keeps the focus on the dial’s stone-and-metal pattern.

Inside the Andy Warhol ‘Camouflage’

The watch is powered by Piaget’s Manufacture 501P1 self-winding movement.

The calibre measures 20.5 mm in diameter and 3.63 mm in thickness, with 23 jewels, a frequency of 28,800 vibrations per hour and a power reserve of approximately 40 hours.

Its finishing includes circular Côtes de Genève, a circular-grained plate, bevelled bridges and blue screws, while the tungsten oscillating weight is finished in slate grey.

The caseback is engraved with Andy Warhol’s signature and the individual limited-edition number.

Details & Specifications

As a Warhol object, the watch is most interesting because it resists the obvious route.

Piaget hasn’t made a miniature canvas, but a decorative watch that uses stone, gold and case architecture to echo the tension and brightness of Warhol’s ‘Camouflage’ portraits in a language the Maison already understands well.