The Rolex Code Number can be spotted between the lungs of the bracelet. In order to spot that you need to remove carefully the bracelet other informations included is the Rolex Model Number Code
Rolex Bezel Code
Table of Rolex Bezel Code Number
In the above table you can find according to the code number the description of the bezel. Learn more about Rolex Coding, do you want to learn more about Rolex Bracelet Clasp Code?
Smooth/ Domed Polished Bezel Code O
Plain Bezel without anything engraved or anything in particular its the simplest form of bezel you can find.
Rolex Smooth Bezel
Engine Engine Turned Code 1
The bezel you can spot some decorative lines engraved. The last Rolex that had such a bezel was Rolex with ref. 115210 that was discontinued in 2016.
ROLEX ENGINE BEZEL 1
Engraved Code 2
On the inside part of the bezel you can spot the Rolex engraved, it is easy to spot it when you turn on the side your watch.
ROLEX ENGRAVED BEZEL
Fluted Code 3
Rolex first launched this elegant bezel with the symmetrical crafted lines around the bezel so as to screw the bezel and secure that the watch would be waterproof.
ROLEX FLUTED BEZEL
Bark/ Hand Crafted Code 4
Rolex Bark Bezel was the only bezel that can be spotted only to one Rolex Model and that said would be the Rolex President Day Date, it was called bark due to this specific texture of the bezel as seen below.
ROLEX BARK BEZEL
Pyramid Code 5
What an amazing and hard to find bezel as it is considered one of the rarest. Introduced by Rolex in the 1980s took his name due to the specific triangles spotted around the bezel providing such a unique aesthetic.
ROLEX PYRAMID BEZEL
Rotatable Bezel Code 6
The Rotatable Bezel can actually rotate!
ROLEX ROTATABLE BEZEL
Various Bezel Code 7
Want to learn more about Rolex History? Check out our article that describes how everything started.
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Vallée de Joux, Switzerland — Contributing Editor, high complications & independent watchmaking
Julien Favre learned the difference between good silence and bad silence before he was ten. Good silence was his grandfather at the bench in Le Sentier, loupe screwed into one eye, breathing shallow over a disassembled minute repeater. Bad silence was the moment a hairspring pinged off the peg-wood and disappeared into the floorboards. The family atelier — three generations of movement servicing for the maisons that carpet the Vallée de Joux — was never framed as a legacy Julien was expected to join. It simply was the house, the way weather is the house in a mountain valley.
He resisted it, predictably. He studied economics in Lausanne and spent two years in Geneva watch retail, selling the objects rather than opening them. What pulled him back was not sentiment but frustration: he found he could describe why a movement was beautiful far better than anyone selling it could, because he had seen its underside. He started writing — first a blog dissecting finishing under macro photography, then commissioned work for the trade press, then features that treated escapements the way music critics treat a fugue.
Julien now covers high complications, restoration, and the fragile economics of independent watchmaking for European and English-language titles. His reporting is unusually technical without being cold; he is as interested in the person hunched over the bench as in the tolerances they hold. He is skeptical of hype, allergic to press-release adjectives, and reliably the first to notice when a "revolutionary" caliber is a reworked ébauche.
He still returns to the family workshop each winter to service a single pocket watch on his grandfather's bench — a discipline, he says, that keeps his writing honest. A critic who cannot do the thing risks worshipping it. Byline version: Julien Favre is a contributing editor covering high complications and independent watchmaking. He grew up in a movement-servicing atelier in the Vallée de Joux and still works the family bench each winter
Vallée de Joux, Switzerland — Contributing Editor, high complications & independent watchmaking
Julien Favre learned the difference between good silence and bad silence before he was ten. Good silence was his grandfather at the bench in Le Sentier, loupe screwed into one eye, breathing shallow over a disassembled minute repeater. Bad silence was the moment a hairspring pinged off the peg-wood and disappeared into the floorboards. The family atelier — three generations of movement servicing for the maisons that carpet the Vallée de Joux — was never framed as a legacy Julien was expected to join. It simply was the house, the way weather is the house in a mountain valley.
He resisted it, predictably. He studied economics in Lausanne and spent two years in Geneva watch retail, selling the objects rather than opening them. What pulled him back was not sentiment but frustration: he found he could describe why a movement was beautiful far better than anyone selling it could, because he had seen its underside. He started writing — first a blog dissecting finishing under macro photography, then commissioned work for the trade press, then features that treated escapements the way music critics treat a fugue.
Julien now covers high complications, restoration, and the fragile economics of independent watchmaking for European and English-language titles. His reporting is unusually technical without being cold; he is as interested in the person hunched over the bench as in the tolerances they hold. He is skeptical of hype, allergic to press-release adjectives, and reliably the first to notice when a "revolutionary" caliber is a reworked ébauche.
He still returns to the family workshop each winter to service a single pocket watch on his grandfather's bench — a discipline, he says, that keeps his writing honest. A critic who cannot do the thing risks worshipping it.
Byline version: Julien Favre is a contributing editor covering high complications and independent watchmaking. He grew up in a movement-servicing atelier in the Vallée de Joux and still works the family bench each winter
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