It’s Time - Pocket Watch, part of Heidi Vornan's master works
I completed my master goldsmith qualification in the spring of 2024—a challenging achievement, as the exam was last held 14 years ago. The process tests craftsmanship, design, and expertise, culminating in a masterwork that showcases the highest level of skill.
Becoming a master goldsmith has always been demanding. In the past, apprentices trained under masters, traveled as journeymen, refining their craft. Only after demonstrating exceptional skill and creating a masterpiece could they earn the title of master goldsmith. In many ways, I have followed a similar path—working with some of the finest names in our industry, setting stones and crafting unique bespoke jewelry as a subcontractor.
For my masterwork, I created It’s Time, a pocket watch that merges traditional techniques with modern innovations and my artistic vision. More than just a watch, it is a tribute to craftsmanship and the timeless art of goldsmithing.
Pushing Boundaries with It's Time
For my master goldsmith’s project, I wanted to create something exceptional—something truly unique. I saw this as my chance to step outside the usual boundaries, to do something bold that I wouldn’t typically attempt. I also wanted the project to be a personal learning experience, an opportunity to explore new techniques while combining those I had already mastered. I felt that traditional goldsmithing had become too familiar, so I decided to add complexity to my work and push myself beyond my comfort zone.
The Unexpected Inspiration; A Cameo with History
A few years ago, I commissioned a hand-engraved cameo from the award-winning master gem engraver Andreas Roth for my HUGO collection. This agate-engraved cameo, based on Hugo Simberg’s Garden of Death, initially didn’t fit into the collection and was left unused. Cameo engraving is a demanding and intricate art, with images meticulously engraved into layered materials like shell or sardonyx agate. Known for its intricate craftsmanship, this ancient tradition has endured through the ages. Andreas Roth, one of the few contemporary masters, continues the craft, with his works sought after by collectors and exhibited globally.
A Shift in Vision: From Pendant to Pocket Watch
Originally, I envisioned the cameo as part of a pocket-watch-shaped pendant. However, after some reflection, I was inspired to hide the cameo inside the piece, transforming it into a locket. The shape itself appealed to me, evoking an elegant and sophisticated ambiance reminiscent of 1920s men's style. As the idea evolved, it grew into a pocket watch, introducing its own set of technical challenges—a much bigger undertaking than I had anticipated.
The Deeper Meaning of Time
The limited nature of time and humanity’s desire to measure it is a fascinating combination and fits perfectly with my art. In my previous works, I’ve dealt with the theme of memento mori – the idea that life is finite and could end at any moment. I wanted to hide the cameo inside the watch, like a hidden secret. When the watch stops and is opened, time has run out, and your soul is tended to in the Garden of Death.
The Search for a Movement
To bring the design to life, I reached out to watchmaker Vesa Ruokanen, who has years of experience in watchmaking, including time spent at Breguet in Switzerland. The movement needed to be small to fit the compact design, so Vesa found a 1950s Swiss AV-426 mechanical movement from his stock. However, I had no experience in watchmaking, so Vesa stepped in at this point to guide the process and ensure everything came together.
Overcoming Technical Challenges: Designing the Watch
Building the watch posed numerous challenges. With no pre-made parts available, we had to custom-make every element, rethinking traditional methods along the way. At this stage, Tero Hannonen joined the project, bringing the technical expertise needed for the intricate watch structure. Technical solutions, especially in such an extensive project, are not my strong suit—they’re definitely outside my comfort zone.
Since the cameo had to be hidden inside and the dial placed on the front, we faced complex structural issues. Typically, a watch opens from the front, but in this design, the back cover had to open instead, meaning the entire construction had to be reversed. This unconventional approach required reimagining everything from the case to the internal framework.
Adding to the challenge, the vintage movement had no available blueprints, making precise measurements difficult. To work around this, we built a custom microscope to measure the movement’s dimensions accurately, allowing us to craft a perfectly fitting mounting ring. With Tero’s playful enthusiasm and problem-solving skills, we navigated these technical hurdles, pushing the limits of what was possible.
The Dream of Guilloché Enamel
I had the idea that I really wanted to use guilloché enamel on the watch case, a technique I admired in Fabergé’s jewelry, but I didn’t know how the pattern was made these days or if engraving machines even existed for this anymore. Vesa introduced me to master watchmaker Kari Voutilainen, who had several guilloché machines. We first met at a watch event in Helsinki in spring 2023, and Kari assured me that guilloché and possibly enameling could be done at his workshop, and he also gave me other helpful tips for making the watch.
Conversations on time and craft with Kari Voutilainen, 2023 & 2024.
The Long road to manufacturing
The design process for the watch took another year before we could move into the actual manufacturing phase. Every part had to fit perfectly and lock tightly together in a precise sequence for the watch to function—and for us to assemble it at all. Precise measurements like this can be a bit of a headache for a goldsmith. Just when we thought we had a solution, a new problem would arise, forcing us to take a step back or start over. Once we finally determined the structure of the watch, each part required the right manufacturing and processing methods to bring it to life.
The Challenges of Enameling
The enamel I wanted for the watch presented its own set of challenges, both in material selection and assembly. The complexity of enameling is evident in the fact that even Fabergé relied on a renowned enameler family dedicated solely to this craft.
Enamel is a transparent or opaque, glass-like coating applied to metal surfaces. Made from finely powdered glass or minerals, it melts at high temperatures and fuses with the metal, creating a glossy, durable finish. This technique has been used for thousands of years in jewelry, tableware, and art.
Each enamel color has its own melting point, making temperature control crucial. Even slight overheating can alter the shade, and repeated firings increase the risk of color shifts or impurities rising from the metal beneath. Achieving a smooth, flawless surface is equally demanding. Since enamel requires high temperatures, the underlying metal must be designed to withstand heat expansion or contraction—otherwise, cracks can form. Even after careful application, enamel can break if it cools too quickly or if moisture becomes trapped inside.
Crafting the Watch Dial
Since so much time had been spent on designing the watch, Kari no longer had time to guilloché and enamel the watch case, but there was still enough time to complete the dial. Following Kari’s instructions, I crafted the dial from 18K palladium white gold, chosen for its elegant gray tone and precious metal properties. Platinum was initially considered but ultimately set aside due to its lighter color and challenging machinability—its tendency to adhere to engraving tools would have made the guilloché process even more difficult. Another advantage of using white gold is its resistance to tarnishing over time.
The dial is made from thin sheet material that must be absolutely straight and even. The factory sheet was slightly turned to ensure it was perfectly flat. I soldered pins to the back of the dial, which attach to the movement’s mounting ring, keeping the dial securely in place. The positioning had to be exact to prevent any shifting once assembled. After this, we machined a spot for my logo on the dial and sent the dial to Kari in Switzerland for guilloché work.
Guilloché is a meticulous engraving technique used to create precise, repeating geometric patterns on metal surfaces. Traditionally associated with high-end decorative arts, it was famously employed by Fabergé and has been a hallmark of Swiss watchmaking for centuries. Each engraving is done by hand, demanding precision and technical mastery, making every piece uniquely valuable.
My watch dial presented its own challenges. The blades used for engraving needed to be exceptionally sharp, and the lubricants had to work flawlessly to ensure an unbroken pattern around the perimeter. The palladium white gold I used, in particular, tends to stick to the blade, which can lead to unsightly marks as the blade moves across the metal’s surface. Careful adjustments and precise technique were essential to achieving the flawless, flowing guilloché pattern I envisioned.
CNC Guilloché: A Modern Approach
Since guilloché and enameling of the case could no longer be completed in time through Kari, Tero and I decided to try CNC machined guilloché. We conducted several tests and experimented with different blades until we achieved the desired result. I was impressed by the level of precision and possibilities offered by machine engraving. Micromechanic Heini Viirto was in charge of all the machining work for this project. Even the setup and positioning for machining the watch cases posed their own challenges, but we found solutions along the way.
Because I wanted enamel over a patterned surface, machining was the only viable option at this stage. Impurities from casting pores can surface during enameling, ruining the color and smoothness of the transparent enamel. Stamping might have been a reasonable alternative for achieving the case’s curved shape, but it would have required multiple solder joints—introducing the risk of distortion and potential complications during enamel firing.
Machining allowed me to minimize the number of solder joints while also creating the intricate surface patterns. The cases were machined in 7.0 mm thick 925‰ silver factory sheet to ensure maximum material density. 925‰ silver was chosen as it worked best with the transparent enamel among the available options. However, silver is not ideal for machining due to its softness, which causes blades to catch on the material. To counteract this, we carefully selected the blade type, angle, cutting depth, and machining speed. Additionally, cooling and lubrication had to be meticulously controlled, especially during longer runs, as silver heats up quickly.
Precision Engineering: Fitting the Movement
Once the pocket watch’s covers had been machined and finished, I could fit the diamond bezel around the cameo, which secures the movement to the case with screws. Every component had to align with hundredths-of-a-millimeter precision, as the screws pass through the bezel and into the case, locking the movement and its mounting ring securely in place.
Since no existing part met our exact requirements, we had to manufacture the movement mounting ring ourselves. It was crafted from brass and plated with black rhodium. I set 60 salt-and-pepper diamonds into an 18ct white gold bezel, which was then finished and black rhodium-plated before the cameo was attached.
Finding the Perfect Enamel Colors
Once the machining was complete, Venla Metsola began testing different enamel colors I had selected. These tests helped us determine the optimal angle and depth of the underlying patterns to ensure the enamel would interact with the guilloché in the most visually striking way.
Initially, I had chosen blue and violet shades, but after the third firing, they became too dark or opaque, forcing me to reconsider the original color scheme. I went through numerous enamel variations before narrowing it down to light blue and gray. Gray enamel was something I had never seen used before, and it felt like a modern, distinctive choice that complemented both the overall design and my brand aesthetic. After the third firing, the gray enamel took on a subtle blue-gray tone, but it retained its cool hue, harmonizing beautifully with the colors of the cameo.
Mastering the Structural Elements
Before enameling, I fitted and soldered the hinges and watch crown stem onto the case. These components had to be attached using an extremely hard silver solder capable of withstanding the high firing temperatures of the enamel. Soldering small parts to larger silver components with such hard solder is particularly challenging, as all parts must be heated evenly to ensure the solder flows and bonds to both surfaces simultaneously—since this type of solder only flows once.
The crown stem had to remain perfectly straight and precisely positioned so that the crown and winding stem would align seamlessly within it. To guarantee accuracy, we machined the hole for the winding stem, ensuring perfect alignment. During soldering, I inserted a titanium pin, matching the thickness of the hole, in place of the winding stem and laser-welded the stem from the inside to secure it to the case. These extra steps made the process more demanding, but they were necessary to prevent any movement during soldering.
Once the soldering was complete, I tapped the screw threads into the case, ensuring everything was properly aligned. With these structural elements in place, the case was finally ready for enameling.
Assembling the Watch: A Race Against Time
Before the entire process began, the watch case was first machined from brass, allowing me to position and fit the branches that would attach on top. I had to estimate how the enamel would settle on the machined surface and how thick the final layer would be. Since the branches would be attached from the front by laser-welding them through the stone-setting holes, the alignment of these holes had to be perfect. The intricate shape of the branches also made this step even more challenging, as they needed to fit seamlessly against the enameled surface.
I envisioned the branches as thorny vines rising from the earth, wrapping around the watch—a reminder of time’s fleeting nature, ultimately swallowing it back into the ground, much like the creeping vines in Stranger Things. To achieve this effect, I chose black diamonds and black rhodium-plated 18K white gold. In the end, around 130 stones were set in millegrain. While setting the stones itself wasn’t particularly demanding, cutting the facets and setting them into the intricate, twisting branches took about a week. At this stage, I left the areas where the branches would attach to the case free of stones.
Once all the parts were ready, it was time for assembly—where everything could either go perfectly or become a disaster. Fortunately, all the solder joints held up beautifully during enameling, and the watch movement, along with the crown, fit into place flawlessly. I finished and polished the surfaces before securing the branches.
Attaching the branches was a delicate process. I laser-welded them from the gemstone holes to the stems left on the enamel surface and to the outer edge of the case. With each pulse of the laser, I worried that a single misstep could crack the enamel. Once the branches were firmly in place, I carefully set the remaining stones into their designated holes. Welding two materials with such vastly different melting points required an additional bonding material, adding another layer of complexity.
The final step was rhodium-plating the case and branches in black. Despite testing the process on sample pieces, I still held my breath during plating, knowing that any issue could compromise the enamel. Thankfully, everything proceeded smoothly, and the watch was ready for its final mechanical adjustments.
The Mechanical Hurdles of Watchmaking
Even with the case and decorative elements complete, another challenge was still ahead. The mechanical aspect of the watch was far more complicated than I had anticipated. While I understood basic engineering principles, watchmaking required a completely new level of precision. Fractions of a millimeter could mean the difference between a flawlessly functioning mechanism and a total failure.
One critical component we had to manufacture ourselves was the case springs, as no off-the-shelf part existed in the required dimensions for this unique watch. The latch spring was carefully adjusted and fitted, securing the watch in its closed position. Once it was properly seated, I milled a recess into the case to hold it in place. On the hinge side, the lift spring was positioned to ensure the case opened smoothly but not too forcefully. Though we had estimated the necessary space for it in advance, I was relieved when the mechanism functioned perfectly.
Vesa had a set of suitable hands in stock, which were dyed black to complement the design. Finally, the watch glass was glued in place—marking the last step before Vesa installed the movement and hands, bringing the entire piece to life.
The Final Masterpiece
The end result was exactly what I envisioned—Peaky Blinders meets Fabergé and Heidi Vornan. And the process was definitely challenging enough.
I was captivated by the precision and beauty of these techniques—how something so delicate and refined could emerge from raw materials through skilled hands. It wasn’t just about following a plan or applying a technique; it was about capturing the essence of an idea and bringing it to life.
To me, mastery today means understanding a wide range of techniques and knowing how to choose the most suitable one to guarantee my clients the best possible outcome in both quality and cost. It also means recognizing when to collaborate with top professionals—one lifetime simply isn’t enough to master everything. I hold myself to a high standard and refuse to offer anything that is merely passable. Understanding both my limitations and strengths allows me to push boundaries while ensuring excellence.
The most challenging part of this project was understanding the possibilities of different techniques and materials, but above all, their limitations. Every element had to come together seamlessly, both visually and mechanically. Leading the project meant keeping everything on track, anticipating potential problems, and ensuring that the entire team remained motivated to see it through.
The finished piece is a fusion of tradition, art, and technology. Hidden within, the cameo symbolizes a secret waiting to be revealed, while the guilloché enamel and mechanical movement embody the delicate balance between time and craftsmanship. This timepiece is more than just a masterwork—it stands as proof of what can be achieved when you dare to dream big and challenge yourself.
A Tribute to the Team
This watch would not exist without the skilled and dedicated team behind it. Special thanks go to Tero Hannonen, who not only handled the technical design but also provided invaluable support throughout the process.
When the enamel broke at the last moment, Venla Metsola stayed late to repair it. When it broke again, Tero and I worked late into the night to fix it together. Heini Viirto put in overtime to ensure precision in machining, and Vesa Ruokanen even worked weekends. The night before the exhibition, the watch glass shattered—but Vesa replaced it just in time, and we got the movement in place mere hours before the opening.
Thanks also to Jaana Hanhiniemi from Salpaus for her trust and flexibility, Päivi Keski-Pomppu for design sparring, and Mia Hillo for translation and editing this text. And, of course, Kari Voutilainen, who created the guilloché I had envisioned and generously shared his insights along the way. Looking back, this project pushed me far beyond my comfort zone. I learned not only about watchmaking and mechanical engineering but also about patience, problem-solving, and leadership.
What makes this piece even more special is that nearly everything was made at the Au3 workshop, showcasing Finnish craftsmanship at its finest—except for the cameo, which was the only element from outside Finland. It was an incredible experience in both leading and being part of a team. I walk away from it with a deeper understanding of my craft, new knowledge I never imagined gaining, and excitement for future challenges.
With team members Vesa Ruokanen and Tero Hannonen at the Master Goldsmith’s Exhibition opening,
Finnish Watch and Jewellery Museum Kruunu, June 2024
Design & Production: Heidi Vornan, Master Goldsmith
Technical Design: Tero Hannonen, Designer, Goldsmith, Gemologist (D.G.Fin)
Machining: Heini Viirto, Micromechanic
Guilloché (watch dial): Kari Voutilainen, Grand Master Watchmaker
Enameling: Venla Metsola, Goldsmith, Designer
Cameo: Andreas Roth, Master Gem Engraver
Watchmaking: Vesa Ruokanen, Watchmaker
