Olive green is offered three ways on this reference and no other ground on it gets that latitude. The color comes with plain Roman numerals, with applied markers, and with the numerals at six and nine worked in gold and set with diamonds, and each of those three is available on either bracelet. White, champagne and slate each arrive in one marker treatment and stay there. A color receiving more configurations than the neutrals is unusual in this model, where latitude normally belongs to the grounds that carry no color at all, and it says something about how the range has treated olive green since introducing it. This is the set version on the Oyster bracelet.
The ground is a muted grey-leaning green, applied flat with no gradient and no metallic component underneath, reading as green in direct light and drifting toward grey-brown in shade. That restraint is what allows it to sit against a case combining steel and yellow gold without the metals overwhelming it. The numerals are applied in gold, and at six and nine they are set with diamonds, which on a ground this quiet reads as punctuation rather than as ornament. The bezel is domed and unadorned, so the two set numerals are the only stones anywhere on the watch. The Oyster bracelet runs from the case in broad three-piece links, flatter and less articulated than the Jubilee, so the gold center sections catch light in long uninterrupted stretches and the bracelet reads as a solid band. The case is 36mm. The Oyster is built from three links across its width, the outer two in steel and the middle one in gold, so the gold arrives as a single continuous strip running the length of the bracelet rather than as narrow segments. That is the clearest structural difference between the two options and it governs everything else about how they wear. Fewer links across the same width means fewer articulation points, a bracelet that holds its own shape, and a gold element read as one line instead of many.
The date at three is the whole of what the model does beyond the time, and on a dial with a numeral at every hour that window has to take one of their places. The character at three gives way to it and the ring breaks at a single point. There is no day aperture and no second indication, so the composition is emptier than the same case supports elsewhere and the numerals carry more of it than they would on a busier dial. A printed disc matches a muted flat green closely, since the color is low in value and intensity and small discrepancies do not show against it. The date sits under a lens set into the crystal, and the movement runs roughly seventy hours off a full wind, with the calendar advanced by running the hands rather than through a corrector in the case band. The numerals themselves are applied rather than printed, each fixed through the dial and finished with polished faces that catch light at a different angle from the flat ground beneath them. On a muted ground that finishing carries more weight than it would against something saturated, since the contrast between marker and dial is modest and the separation comes from how the two surfaces handle light rather than from any difference in value. Soft edges would collapse the distinction entirely, which is why a muted ground is in practice a harder surface to finish convincingly than a saturated one, despite asking less of the eye.
Nine references make up the 36mm Datejust and they divide by metal and bezel without a single combination repeated. Steel is offered with a domed bezel and nothing else. The steel and white gold combination takes fluted and diamond-set but never domed. The steel and yellow gold and the steel and Everose combinations each take all three treatments. So the domed bezel exists on three references across the size and on only two of the two-tone cases, which makes it scarcer than its plainness suggests. Within this reference every dial comes on both bracelets, ten configurations doubled to twenty, and the bracelet decision never touches the choice of ground. That scarcity of the domed bezel is easy to overlook, since a plain rim reads as the default option rather than the restricted one. In practice fluting is available on more references than the smooth version across this size, and the diamond-set bezels on more still if the two-tone cases are counted together. So the plainest bezel the model offers is also among the least available, which is the reverse of what the hierarchy of treatments would suggest and worth knowing before assuming a smooth rim can be had in any metal.
An Oyster bracelet suits the set numerals better than the Jubilee does, which is not the obvious pairing. A Jubilee articulates finely and moves constantly, so a dial with two points of light competes with a bracelet already catching it in dozens of small increments. The Oyster holds still, and against a still bracelet the diamonds at six and nine become the only thing on the watch that flashes. That concentration is the argument for this configuration. Collectors who want the stones to register rather than disappear into a busy composition come to this combination, and it is also the more robust of the two on the wrist, since broad links take marks less visibly than fine ones. For a two-tone Datejust that carries diamonds and still reads as a working watch, this is the version that manages both. The Jubilee alternative exists on the same dial and moves considerably more, which suits some wrists and undoes some of what the set numerals were meant to achieve.
