“Smalti a Fuoco_ Un’arte di Sottecchio”
The art of Cloisonné and, more generally, Enamel has seen ups and downs. Yet, it reached a historical peak in the fifties and sixties across various craft fields, even extending to the production of unique special-edition watches and their dials. We can easily count the companies involved: Rolex, Eska, Universal Genève, Patek Philippe, and, from time to time, Vacheron Constantin.
Their production exemplified the potential of the craft, but due to its intrinsic uniqueness, complexity, and limited commercialized models, the art was soon almost forgotten. Today, a few avid watch collectors still remember some rare examples, but finding a modern interpretation that rivals those of the past is nearly impossible.
Patek Philippe Ref. 2481 (1952) – Sold for US$1,117,600 [https://www.phillips.com/detail/patek-philippe/NY080123/89]
We have witnessed the reduction of the art, splitting enamel use into two broad categories: special, extremely expensive watches (produced in the dozens rather than the hundreds) or industrialized enamel coatings (which are less interesting). This should not be confused with metal coatings in processes like dial press printing or galvanic layering. Yet, real enamel remains a unique art—thriving in the past, little known in the present.
Many might assume that this is simply because it has become too expensive. Well, yes and no. The artisans who once created these masterpieces do not earn significantly more than they did in the past. So, what is the problem? Companies prioritize profit, factoring in high margins, while aesthetics, craftsmanship, and artistic expression take a backseat. Production cost is certainly a factor, but today, if something is made as a limited series, it is either deemed unprofitable and abandoned or priced exorbitantly for consumers.
In a 2024 partnership between VC and The Metropolitan Museum of Art, Masterpiece on Your Wrist Project – Vincent van Gogh’s “Wheat Field with Cypresses” minute repeater -Sold for US$250,000. [https://watchesbysjx.com/2024/03/25]
As a result, we—consumers—live in a deprived world. We admire the beauty we can see, unaware of how much more could be possible. Take, for example, the skilled but often unrecognized artisans who create luxury-standard jewelry for major brands. Do they earn a lot? Far from it. The cost of production is just a fraction of the final price—70% is margin, 20% is marketing, 5% is distribution, and the remaining 5% is production cost. Imagine if just 30% of that margin were reinvested in artisans—it could revolutionize craftsmanship.
Many might assume that this is simply because it has become too expensive. Well, yes and no. The artisans who once created these masterpieces do not earn significantly more than they did in the past. So, what is the problem? Companies prioritize profit, factoring in high margins, while aesthetics, craftsmanship, and artistic expression take a backseat. Production cost is certainly a factor, but today, if something is made as a limited series, it is either deemed unprofitable and abandoned or priced exorbitantly for consumers.
As a result, we—consumers—live in a deprived world. We admire the beauty we can see, unaware of how much more could be possible. Take, for example, the skilled but often unrecognized artisans who create luxury-standard jewelry for major brands. Do they earn a lot? Far from it. The cost of production is just a fraction of the final price—70% is margin, 20% is marketing, 5% is distribution, and the remaining 5% is production cost. Imagine if just 30% of that margin were reinvested in artisans—it could revolutionize craftsmanship.
Patek Philippe Reference 5738/50J-011 “Yellow-Crested Cockatoo” Golden Ellipse wristwatch -Watch Wonder 2025
I digress. I once met an aerospace engineer who worked for NASA on satellite production and management. I still remember his words: “We used to think we were sending the latest front-end technology into space. The reality is that the technology we launch is decades old—consistent, reliable, and incredibly simple.” This made me reflect: isn’t this true for everything we experience today? We love new watches, but are they truly the most advanced and aesthetically remarkable creations we can dream of? We appreciate art, but is it meant to be sold or truly experienced? Art was once meant to inspire, to push us further. Is it still as awe-inspiring today as it was for museum visitors in the 19th century? I believe not. We live in a barren gallery of cheap reproductions.
Please, don’t call me subversive—I acknowledge that there are still artists who proudly represent the modern age. But many, I feel, do not.
Where does that leave us today? We can still find remarkable examples of Cloisonné and Enamel, but such craftsmanship has become an exclusive luxury.
Let’s be clear—I’m not saying these arts are cheap or should be sold cheaply. Rather, their application is so limited that only a handful of unattainable pieces exist, burdened by the additional cost of brand prestige. Sometimes, this prestige is more of a curse than an advantage—an opportunity missed.
Will these arts ever become mainstream? Never. Could they be applied in a more accessible way? Certainly.
I’ve heard of a craftsman selling an intricate enamel dial for $20,000 on a $300,000 watch. This reveals the disproportion between production costs and final sale price.
My Personal Commitment
I love these techniques, but I am far from being able to afford such works of art. So, I decided to make my own—and perhaps create something that others can appreciate as well. This is, at its core, an artistic pursuit: if I can’t find something accessible, I will create it myself. That’s how I was raised.
Today, knowledge is more accessible than ever, but true craftsmanship remains out of reach for many.
My Experience in a Three-Day Workshop
I had the opportunity to participate in a three-day workshop with **Maestro Luigi Barato**, a master of Enamel.
Fire Enamel on Hammered Copper Leaf with Silver Beating, featuring Transparent Green-Blue Shades on a Transparent Background to Enhance the Underlying Workmanship. // Smalto a Fuoco su foglia di Rame Battitura Argento con sfumature Verde Blu trasparenti su Fondo trasparente ad esaltare la lavorazione sottostante
Over these intense days, we explored the art of “Smalti a Fuoco” (fire enameling) under his guidance. His expertise opened new horizons, expanding my understanding of this ancient craft.
Fire Enamel with Silver Wire Cloisonné, Transparent Enamels with the Use of Opalescent White. // Smalto a Fuoco con Cloisonné filo argento, smalti trasparenti con utilizzo Bianco Opalescente
Through hands-on experimentation, we transformed raw materials into both artistic and functional objects, unlocking creative possibilities far beyond the workshop itself. This is just the beginning—a new way of approaching design, craftsmanship, and innovation.
Looking Ahead
This experience has inspired me to further explore enamel work across various disciplines. I plan to integrate it into my artistic practice, industrial object design, and, most excitingly, the creation of “engraved enamel watch dials”.
This is not just a skill—it’s a new direction. A direction that will likely lead me to rediscover disciplines I had set aside while focusing on technical work.
For instance, I never truly explored painting, though I have experience with wood and ceramic modeling. Working with enamel on copper plates has given me a newfound appreciation for painting as a medium.
At the same time, I will continue my path in dial design and craftsmanship, combining traditional jewelry techniques such as engraving, stone setting, hatching, and modeling. My goal is to develop new dial prototypes—celebrating a new artistic expression.
My canvas? A redesigned watch case inspired by the ultra-slim Universal Genève Calatrava — a model so significant to me that, aside from owning different variants of the original, I have dedicated myself to modernizing its timeless design. This silver case will serve as the perfect canvas for my dial concepts, embodying the best elements of Breguet, Patek Philippe, and fine jewelry artistry.
Beyond Watches: Jewelry and Enamel
Maestro Barato also introduced me to an unexpected perspective: a new way to conceive jewelry through enamel techniques. With future training in goldsmithing, I intend to fully embrace jewelry design and creative craftsmanship.
Fire Enamel with Transparent Flux, Gridded Stencil, and Silver Leaf with a Gradient of Opalescent White and Black on a Hammered Copper Surface. // Smalto a Fuoco con Fondente trasparente, stencil grigliato e foglia d’argento a gradazione bianco opalescente e nero su superficie di rame battuta.
Once and for all, I am committing to art in all its forms—painting, jewelry, watchmaking, dial design, goldsmithing, and enameling.