It’s Time - Pocket Watch, part of Heidi Vornan's master works
For my master goldsmith’s project, I aimed to create something exceptional, something truly unique. I saw this as an opportunity to do something crazy, something I wouldn't normally do. I also wanted this project to be a learning experience for myself – to learn something new and combine techniques I already master. I felt that traditional goldsmithing no longer posed much of a challenge, so I decided to add a bit more complexity to my work and truly step outside of my comfort zone.
A few years ago, I had commissioned a hand-engraved cameo from the award-winning master gem engraver Andreas Roth for my HUGO collection. Andreas’ family has continued the tradition of gem engraving and goldsmithing since the 1700s. This agate-engraved cameo, based on Hugo Simberg’s Garden of Death, somehow didn’t fit into the collection at the time and was left unused. Cameo engraving is a demanding form of gem carving, where images are engraved into layered materials such as shell or sardonyx agate. Cameos are particularly well-known from ancient times, and their popularity has continued for centuries. Roth is one of the few contemporary artists who excels in this art, and his works have been exhibited worldwide and are owned by collectors.
Initially, I envisioned a pocket-watch-shaped pendant with this cameo on the front. Somehow, this shape appealed to me and evoked an elegant and sophisticated ambiance, reminiscent of the 1920s style seen in the Peaky Blinders television series. However, I couldn’t progress with the design, with the cameo on top of the jewelry, and a colleague of mine suggested, “What if it’s hidden inside the piece, and the object becomes a locket?” That’s how I decided to hide the cameo inside the locket. Then came a wild idea – to turn it into a real pocket watch, adding a technical challenge to the project. It later turned out to be much more challenging than I could have ever imagined.
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 you open it for servicing, time has already run out, and your soul is tended to in the Garden of Death.
The next step in the project was to find a movement, so I contacted watchmaker Vesa Ruokanen, who had recently moved back to Finland from Switzerland. Vesa happened to have a small, thin, unmarked Swiss AV-426 mechanical movement from the 1950s, which suited my project. However, I had no idea how to build watches, so Vesa stepped in at this point to help.
Since the cameo had to be inside and the dial on the front, we had to solve numerous problems, like how to even build it this way. Normally, the back cover isn’t the part that opens, as it is here. The watch had to be built in reverse of the usual, and the entire structure had to be custom-made, as there were no pre-made parts available for this movement and its dimensions. Tero Hannonen joined the project with playful enthusiasm, as he already had experience in watch structures and case-making, as well as technical design, which I sorely needed. Technical solutions, especially in such an extensive project, are not my strong suit – they’re definitely outside my comfort zone.
Since the movement was old, no blueprints were available, as is usually the case with movements, which would have made things like sizing the mounting ring around the movement easier. We built a custom microscope for measuring to get precise dimensions of the movement.
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 2022, 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.
The design project for the watch took another year before we moved into the actual manufacturing phase. Every part had to fit perfectly and lock tightly together in a specific order for the watch to function, and for us to assemble it in the first place. Precise measurements like this can be a bit of a headache for a goldsmith. Every time we thought we had an idea that worked, a new problem would arise, and we’d have to take a step back or start over. Once we finally figured out the structure of the watch, each part needed the correct manufacturing and processing methods.
The enamel I wanted presented its own challenges in choosing methods for working with and assembling the parts. The difficulty of enameling is illustrated by the fact that Fabergé used a famous enameler family dedicated solely to enameling. Enamel is that transparent, glass-like coating on the watch case. The enamel coating is made from finely powdered glass or glass-like minerals, which are melted at high temperatures onto the metal surface. When the glassy substance melts, it bonds with the metal, creating a beautiful, glossy, and durable finish. The history of enameling spans thousands of years, and it has been used especially in jewelry, tableware, and art pieces. Each enamel color has its own melting point, and controlling the heat carefully is essential, as the process can take just minutes. The color can also change if the enamel has to be heated multiple times or if impurities rise from the metal beneath.
Achieving a smooth and glossy enamel surface is extremely demanding. Because enamel requires a high melting temperature, it's important that the underlying piece is designed in such a way that it doesn't expand or contract from the heat, causing the enamel to crack. Sometimes, however, the enamel can break if it cools too quickly or if water gets trapped inside. 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 enough time to complete the dial. I made the dial from palladium white gold according to Kari’s instructions. 18K white gold was chosen because of its color; I wanted the dial to be gray and to be made of a precious metal, as guilloché on platinum would have been even more challenging. 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 pins had to be very precisely soldered to ensure the dial fit tightly and aligned perfectly without shifting. After this, I machined a spot for my logo on the dial and sent it to Kari in Switzerland for guilloché work.
Guilloché is an intricate engraving technique used to create repeating geometric patterns on the surface of metal. This technique is particularly renowned in decorative objects such as jewelry, watch dials, and other works of art, and it has been employed by master craftsmen like Fabergé and others. Guilloché dates back to the 18th century, gaining special popularity in the late 19th and early 20th centuries. It has also been widely used in Swiss watchmaking. The guilloché technique makes objects unique and valuable because every engraving is done by hand and requires a high level of skill. It combines artistry and technical expertise, and it remains a highly regarded technique in contemporary art and craftsmanship.
My watch dial presented some challenges, as the blades needed to be particularly sharp and lubricants had to work effectively to ensure that the line around the edge of the dial would not break, allowing the pattern to flow seamlessly around the perimeter. The palladium white gold I used, in particular, tended to stick to the blade, which could lead to unsightly marks as the blade moved across the metal’s surface.
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 following Vesa's suggestion. We conducted several tests and experimented with different blades until we achieved the desired result. I was quite impressed by the 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 the machining of the watch cases posed their own challenges, but we managed to solve them.
Because I wanted enamel on the case with a pattern underneath, no other technique besides machining was an 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 sensible choice for achieving the case’s smooth curved shape, but it would have required multiple soldering joints on the case, which could distort the shape of the case, and every solder joint carries a risk during enamel firing.
With machining, I was able to minimize the number of solder joints and create the surface patterns. The cases were machined from 7.0 mm thick 925‰ silver factory sheet to ensure the material was as dense as possible. 925‰ silver was chosen as it worked best with the transparent enamel among the available options. However, silver is not ideal for machining because its softness causes the blades to easily catch on the material. It was crucial that the blades were of the correct type, at the right angle, and programmed to the right depth, while the machining speed was properly adjusted. Additionally, cooling and lubrication during machining had to be carefully managed, especially for longer runs, as silver heats up easily.
Once the pocket watch’s covers had been machined and finished, I was able to fit the diamond bezel around the cameo, which secures the movement to the case with screws. These parts also had to align with one another with hundredths-of-a-millimeter precision, as the screws pass through the bezel and attach to the case, keeping the movement and its mounting ring in place. We also had to manufacture the movement mounting ring ourselves. It is made from black rhodium-plated brass. I set 60 salt & pepper diamonds on an 18K white gold bezel, then finished and black rhodium-plated the bezel before attaching the cameo to it.
Afterward, Venla Metsola began experimenting with enamel tests using the different colors I had selected. Through these tests, we were able to determine the optimal angle and depth of the underlying patterns that would work best with the enamel. The blue and violet shades I had originally chosen became too dark or opaque after the third firing, so I had to rethink the initial color scheme and went through numerous enamel shades. After additional tests, I narrowed it down to light blue and gray. I had never seen gray enamel used anywhere before, and it felt like a modern solution that would suit the overall design as well as my brand. This gray enamel, after the third firing, changed to a blue-gray tone, but it retained its cool hue, perfectly matching the colors of the cameo.
Before enameling, I did the fitting and soldered the hinges and the watch crown stem onto the case. These parts had to be soldered using a very hard silver solder that could withstand the high firing temperatures of the enamel. Soldering small components to larger silver parts with such hard solder is quite demanding, as all parts must be equally heated for the solder to flow and bond to both pieces simultaneously, since this solder only flows once. The crown stem had to remain perfectly straight and positioned correctly so that the crown and winding stem would align precisely within it. The hole for the winding stem was drilled by machining to ensure perfect alignment. During soldering, I inserted a titanium pin, the thickness of the hole, in place of the winding stem and lasered the stem from the inside to attach it securely to the case. These steps made the soldering process more difficult, but they were necessary to ensure the stem didn’t move during the soldering. After soldering, I tapped the screw threads into the case, and then the case was ready for enameling.
Before this entire process began, the watch case was machined from brass, so that I could position and fit the branches that would attach on top. For these brass cases, I had to estimate how the enamel would settle on the machined surface and how thick the layer of enamel would be. Since the branches were attached from the front through certain stone holes by lasering them onto the enamel case using small pins left in place, it was a meticulous task to align these holes precisely, but also due to the shapes of the branches, ensuring they would fit snugly against the shape of the enameled surface.
I envisioned the branches as thorny vines rising from the earth, wrapping around the watch as a reminder of time’s fleeting nature, ultimately swallowing it into the ground - like the vines in Stranger Things. I wanted them to be black, so I chose black diamonds and black rhodium-plated 18K white gold as the material. In the end, there were around 130 stones, which were set in millegrain. Setting the stones itself no longer feels particularly demanding, but due to the shapes of the branches, cutting the facets and setting the stones took about a week. I left the parts where the branches would attach to the case without stones at this stage.
Once all the parts were ready, the next phase was assembling the watch, where everything could go perfect or become a disaster. Fortunately, all the solder joints held well during enameling and looked neat, and the watch movement, along with the crown, fit beautifully into place. I finished and polished the surfaces before attaching the branches.
But my biggest challenge was still ahead. The mechanical aspect of the watch was much more complicated than I had anticipated. Even though I was familiar with basic engineering principles, this was a new level of complexity. Precision was crucial—fractions of a millimeter could make the difference between a functioning mechanism and a complete failure.
Finally, I attached the branches by laser-welding them from the gemstone holes to the stems left on the enamel surface and to the outer edge of the case. With each snap of the laser, I feared I might hit the enamel and cause it to break. Once the branches were secured, I carefully set the stones into the holes where I had attached the branches. Welding together two materials with such different melting points is no easy task, and I had to use an additional material. In the end, I cautiously rhodium-plated the case and branches in black, which was its own kind of nail-biting moment in terms of the enamel, even though I had prepared test pieces. Thankfully, this step was also successful.
Finally, I fixed the hinge pin in place. I also had to manufacture the mainspring myself, as there was no off-the-shelf part available for this unique watch in the desired dimensions. The spring was adjusted and fitted, and once it was seated properly, I milled a recess in the case for it to secure the watch and keep it closed. On the hinge side, the spring had to be positioned and adjusted so that it would open the case but not too forcefully. The space needed for the spring in the case was initially estimated, but it worked perfectly.
The structure of the crown couldn’t withstand the laser welding, so it had to be soldered, with the cabochon-cut diamond, which would open the lid when pressed, already set in place. The crown surrounding the pusher had to be fitted onto the stem in such a way that it would rotate smoothly without friction. I cut threads into the lower part of the diamond pusher inside, where the winding stem would attach. Once again, precise measurements were crucial for every single part. Vesa had suitable hands on stock, which were dyed black. Finally, the watch glass was glued in place, and the watch was ready for the movement and hands to be fitted, which Vesa handled.
The final result was just what I wanted – Peaky Blinders meets Fabergé and Heidi Vornan, and the work was definitely challenging enough.
I was fascinated by the beauty and precision of these artistic techniques. The entire process was captivating: how something so delicate and refined could emerge from rough materials through skillful hands. It wasn’t just about following a plan or applying a technique—it was about capturing the essence of an idea and breathing life into it.
To me, mastery today means that I know and understand various techniques and can choose the most suitable option among them, guaranteeing my client the best possible outcome in terms of both quality and cost. I also know how to find the best professionals, as it's not practical to learn everything yourself—one lifetime is not enough to master all techniques. I hold myself to a high standard, and I don’t want to offer my clients anything that’s only passably made. I understand my limitations but also my strengths, which helps me recognize where my abilities suffice.
The most challenging part of this project was understanding the possibilities of different techniques and materials, but above all, their limitations. I needed to bring the parts of the piece together in a way that made the whole functional—not just technically, but also visually. This masterpiece combined many elements of the project. Managing the whole, keeping everything under control, solving any potential problems, and scheduling the team’s work one part at a time were essential. Keeping everyone excited and motivated was also crucial, because if even one aspect had been left undone, the work could not have been completed.
Above all, I want to thank my incredible and skilled team, especially Tero Hannonen, who was responsible for the technical design of the watch and also provided me with moral support. Without them, this project would not have been possible. Everyone was motivated and excited, and no one gave up, even when problems arose. When the enamel broke at the last moment, Venla turned on the oven and said she’d stay late to make the repair that evening. When the enamel broke a second time, Tero and I stayed late into the night to fix it together. Heini stayed for overtime a couple of times, and Vesa worked even on weekends. The night before the exhibition, the watch’s glass broke, but Vesa helped replace the glass, and we got the movement in place just a couple of hours before the exhibition opened.
Looking back, this project truly pushed me beyond my comfort zone and taught me so much more than I initially expected. I learned not only about watchmaking and mechanical engineering but also about patience, determination, and the beauty of craftsmanship at its finest. The intricate details, both technical and artistic, made this piece something extraordinary.
The finished product was an exceptional fusion of tradition, art, and technology. Hidden inside the watch, the cameo symbolizes a secret waiting to be revealed, while the guilloché enamel and mechanical movement remind us of the delicate balance between time and craftsmanship. This timepiece is more than just a masterwork; it is a testament to what can be achieved when you dare to dream big and challenge yourself.
Thanks also to Jaana Hanhiniemi from Vocational education and training school Salpaus for her understanding, flexibility, and allowing me to take on this project, as well as her belief that it would be completed, even though it came down to the wire. Thanks to Päivi Keski-Pomppu for design sparring, and Mia Hillo for translating and editing this text. And a big thank you, of course, to Kari Voutilainen for making the guilloché I had dreamed of for the watch, and for the discussions and valuable tips.
I find it especially great that we carried out almost everything at the Au3 workshop—every part and the craftsmanship of the masterpiece is Finnish, except for the cameo. This was an incredible experience in leading a team and being a part of one. I learned an unbelievable amount from these top professionals—things I never could have imagined understanding. It’s a great feeling to move forward into new projects with a pack full of new knowledge.
Design and production: Heidi Vornan, Master Goldsmith
Technical design: Tero Hannonen, Designer, Goldsmith, Gemologist D.G.Fin
Machining: Heini Viirto, Micromechanic, Engraver
Watch dial, guilloche: Kari Voutilainen, Grand Master, Watchmaker
Enamelling: Venla Metsola, Goldsmith, Designer
Cameo: Andreas Roth, Master Gem Engraver
Watchmaking: Vesa Ruokanen, Watchmaker
