Workshops are the most valuable resources of some of the UK jeweler’s most storned jewelers. However, for the most part, they remain hidden and outside the borders for the public.
Three years ago, Asprey quietly opened a 4,900 sq ft space in Hammersmith, West London, shifting machinery and jewelery craftsmen, who had previously tried in a Warren of the Georgian era’s attitude rooms over her earlier flag in New Bond Street.
“We are very lucky at ASPERY to be one of the brands of British luxury heritage to still have a fully functioning and flourishing workshop in London,” says ASPERY owner John Rigas, for whom holding and relocating the workshop was a passion project.
“The ASPREY workshop is in the heart of our business – home to artisans whose ability and dedication determine our heritage and cultural commitment. Their expertise is an invaluable asset, ensuring that every part we create reflects the highest standards of excellence.”
The Hammersmith site houses 13 white craftsmen, some of whom have spent their entire work life in ASPERY. The workshop specializes mainly in jewelery, but the plan is to restore the jewelery.
Workshop activities include laser welding and polishing. Silver is sometimes gilded with pure silver to hide fire signs that are very difficult to remove or give a more durable mirror finish. The sound of the basic metal of the hammer in silver can be heard, using some irreplaceable tools that have been part of the ASRAY set for more than 100 years.
The team undertakes all the ways of the commissions paved and creates trophies for world class events. It can be a silver animal head – such as a brown glass dash that sits on top of one of the 5,950 £ 5,950 signatures of crystal glass – a VIP commission with a trophy or a trophy such as the horse of Epsom Derby.
Today in the workshop, there is what every English football team dreams of: the Premier League Silver trophy, which returns every year to have the name of the winning team carved.
Hamilton & Inch is the foremost Edinburgh of Destination for beautiful jewelery, luxury watches and handmade silver. Its workshops are placed on four floors above its exhibition hall in George Street, and the clients selected are allowed to visit and observe craft processes. The high -floor workshop, overlooking the Edinburgh Fortress and Firm of Forth, is a draw for visitors who have included Queen Elizabeth II.
The company has made silver trophy for golf, the unification of Rugby and the less well -known sport of Shinty, for which he made a copy of the required Kamanachd cup here in 2024. He is also authorized to use single -origin gold in its collections; Last, the botanical collection, launched in November. The gold that comes with the identifying mark of the head of a stag contains a hidden trace element that can only be detected by the Edinburgh evaluation office. This requires that benches in the workshops appear so that nothing happens to the special gold.
“Having a worker staffed by nine craftsmen is an extraordinary asset-it represents an unprecedented depth of skills, experience and dedication to the craftsmanship,” says Victoria Houghton, chief executive of the 159-year-old company.
Education is essential for Hamilton & Inch, which finances the creation of practices offered in partnership with universities including Edinburgh, Dundee and Glasgow. These settings unblock training and mentoring opportunities and are intended to preserve the future of jewelery, jewelery and carving in Scotland. The company also offers two eight-week practical placements each year.
In addition to workshops In Harlow, Essex, where the Golf and Royal Ascot Kalacing trophies are created by a team of eight jewelery, Mapppin & Webb has 2,300 sq ft work space in a non -proofing building near the London Oxford road. Housing 14 craftsmen, including master jewelers, practitioners, diamond determinants, polishers and precious stones experts, it moved here by Hatton Garden in 2019.
The stairs in the workshop area are lined with adapted photographs and royal guarantees documenting the illustrative history of Mappin & Webb as jeweler, jeweler and jeweler in the British kingdom, including as the crown jeweler.
In West End Workshop, commissions vary from the work of the insurance company, viewing repairs, restoration and size to reimony a high -value net -value of multimillion and home -made client suite.
All supervised by Mark Appleby, director of jewelery services. “Throughout my work career I have taken the act on duty to bring new interns to the wonderful world of jewelery,” he says. Mappin & Webb and other royal guarantee holders support Queen Elizabeth’s scholarship Trust, who supports young people demonstrating extraordinary talent in British craftsmanship. “Maintaining the craft is a task to the industry we need to help maintain,” Appleby adds.
At Mappi & Webb, practitioners spend three years learning traditional bench techniques before being left loose in computer -aided design, which has its own space. Diamond assembly takes place in another corner space by craftsmen lined with high magic glasses, who have trained for five years to perform this role.
The workshop is employed by a combination of indentered and pre-student interns, many of whom are graduated from the Goldsmiths Center, the London Training Institute. At Mapppin & Webb they work and learn from Master’s jewelers.
“Through the Center Foundation program and a scheme responsible for the industry, it has allowed us to work with a variety of businesses that are at the heart of our trade, which include internationally recognized MAPPIN & ASRAY workshops,” says Chris Oliver, head of professional training at the Goldsmith center.
