Silversmithing Allied Trades (skilled trades & manufacture)

The manufacture of vessels and other ceremonial artefacts in precious metals can be traced back to the Bronze Age here in the UK. Grave goods and archaeological finds of fine metalwork can be seen in collections across the UK. The church and ecclesiastical silver played a significant part in the development of mediaeval silversmithing techniques and a guild of Goldsmiths’ (workers in precious metals) responsible for the Assay of Plate and overseeing their craft was established in London in 1327. This is the origin of the Hallmarking process and while today there are four Assay Offices (London, Edinburgh, Birmingham and Sheffield) in the UK today. In previous centuries guild-based Assay Offices also existed where there were significant concentrations of silversmiths and goldsmiths including places like Chester and Yarmouth.

Until the Industrial Revolution silversmithing was predominately a low volume activity with much of the work hand fabricated. The Industrial revolution saw the introduction of mass production in places such as Birmingham (Matthew Boulton’s) famous Soho Manufactory and in Sheffield where flatware and cutlery were important products. Indeed, the Birmingham and Sheffield Assay Offices were created by Act of Parliament rather than Charter to meet the needs of local manufacturers. Use of domestic silver peaked in the 19th Century when domestic staff were viable options for the middle and upper class households. The maintenance of domestic plate being a time-consuming and repetitive process which became less popular after the decline in domestic staff after the First World War.

For much of the 20th Century silver in its many forms became the province of the Church, Ceremonial Plate and Commissions with a gradual decline in wider domestic use. The 1950/60s saw a renewed interest in design and a new generation of designer and makers came to the fore that developed successful businesses that targeted wealthier and discerning clients both in the UK and overseas.

There remain a number of highly successful commercial workshops and retailers and a new generation of small independent designer maker businesses who are creating viable and sustainable businesses, many of whom are represented by Contemporary British Silversmiths and incubated through initiatives such as Bishopsland Educational Trust, Yorkshire Artspace, South House Workshop Trust, Marchmont silversmithing workshops and the Goldsmiths’ Centre.

However, they remain in part dependent upon the specialist craftspeople that have specialist skills in the allied trades and make up the supply chain for the sector, and therefore there will always be a risk for their long term sustainability if these supply chains breakdown.

The allied trades involve various specialist techniques that support the manufacture of objects in silver as well as providing finishing and decorative functions.

The allied trades in silversmithing were traditionally often carried out by a team of skilled specialists. For example, there were traditionally buffers, polishers, spinners, wire drawers etc. who would specialise in that specific skill. Today, many of these areas of skill are decreasing and so many independent craftspeople and companies have to become skilled in more than one area and/or bring the skills in-house.

These include:

• Polishing/finishing – Using compounds to smooth and refine the metal surface, enhancing shine and removing imperfections to achieve a high gloss or other fine surface finish.
• Buffing/sanding – The use of hard and soft felt dollies combined with a mixture of pumice and oil where a small amount of the surface is removed to take away marks and scratches
• Chasing & Repoussé – Decorative techniques where metal is shaped by hammering from the front (chasing) or the back (repoussé) to create raised or recessed patterns; typically performed at a high level by specialist trade chasers.
• Hand Forging of Cutlery – The creation of cutlery using traditional hand forging and machine forming methods for precision and durability.
• Enamelling – The fusion of coloured powdered glass to a metal surface, creating decorative or figurative effects through heat.
• Lost Wax Casting – Involves pouring molten metal into wax-based moulds to form complex shapes, commonly used for fine medal casting or mass production; availability of high-quality services in this area is limited.
• Plating – The process of applying a thin layer of metal, such as gold, silver, or chrome, to an object via electroplating to improve appearance and durability.
• Electroforming – Similar to plating, this technique builds up metal layers over moulds or substrates using electrochemical processes.
• Engine-Turned Engraving – A mechanical engraving method using a rose engine or similar lathe to create intricate, repetitive patterns; access to machines is increasingly rare.
• Silver Spinning – A forming technique where a flat silver disc is rotated on a lathe and shaped by hand tools against a mould, commonly used for symmetrical items like bowls or goblets.
• Wire Drawing – The process of pulling metal through progressively smaller dies to produce uniform wires for use in decoration or assembly.
• Drop Stamping – A method where a heavy die or stamp is dropped onto silver sheet to precisely cut or emboss a design using force.
• Tray Sinking – A technique for forming a concave shape, such as a tray, by hammering a flat metal sheet into or over a hollow form.
• Die Making – The creation of custom dies or moulds used for stamping or shaping metal components accurately.
• Press Tool Making – Involves crafting tools and dies that are used in mechanical presses to repeatedly cut, shape, or form metal.
• Hand Engraving – A precise manual technique using gravers or burins to cut intricate designs directly into metal.
• Tray-making – Designing and fabricating flat, often decorative serving trays from silver or silver-plated materials.
• Antique Restoration – Antique restoration involves repairing and refinishing antique silver items to return them to a near-original or aesthetically pleasing condition. This can include fixing dents, re-soldering parts, replacing missing elements, and polishing.
• Gilding – The process of applying a thin layer of gold to the surface of a metal object, such as silver, to enhance its appearance and prevent tarnishing.
• Box making – High precision scoring, folding and soldering metal to form boxes.
• Joint/hinge making –  Precision manufacturing of joints/hinges to create opening parts in boxes, objects and small work.
• Soldering and welding – use of traditional gas methods to heat and fix parts together. The use of TIG welders and Laser welders to fix components together.

Training and recruitment issues

• Retention of trainees – Some employers are reporting issues with retaining apprentices and trainees in the allied trades due to low wages, long training times, or limited job prospects.
• Long training periods – it can take years for apprentices to become proficient, making it difficult to sustain training programs.
• Costs of delivering training –  The initial stages of training can be costly to a small business both in time and the use of materials. Employers shouldn’t expect a return on investment from an apprentice for a few years and there is currently very little support to assist with the initial costs.
• Limited training capacity – small businesses often lack the time, resources, or staff to provide in-depth training for new craftspeople

Availability of tools

• Lack of specialist tools and equipment – many allied trades are relying on tools and equipment from craftspeople who retire or from companies that have closed down e.g. spinning lathes, specialist stakes etc.
• High tool and equipment set up costs – Whilst a jeweller can get by with a bench and small pieces of equipment, someone setting up in the allied trades will need a lot more space and expensive equipment. They may also need to install extraction and other systems to ensure safe working practices.

Skills issues

• Reliance on outworkers – many businesses depend on outworkers and subcontractors, meaning that skills are not being retained within businesses and the capacity to pass skills on is reduced. However, this also presents an opportunity for establishing a national network of skilled workers that can support small and large businesses through more collaboration
• Ageing workforce – a large portion of skilled workers are approaching retirement, with few young professionals entering the trade.
• Lack of visibility of skilled workers – many allied trades work ‘behind the scenes’ and are often not promoting their own work. This lack of visibility can mean that skills gaps are not evident until it is too late. More investment is needed in this area to help them be more visible.
• Lack of skilled technicians and specialist tutors – particularly as some are retiring, is a risk factor and is also part of the reason we see a decline on output of training via the university and apprenticeship routes. There has been significant reduction in funding and sessional hours over the last 25 years for the teaching and passing of those skills. Courses have been merging, blending into broader subjects and specialisms are being lost as subjects to teach. Many courses have closed due to high course fees and a lack of funding.

Market issues

• Fluctuating trade – demand for handcrafted silverware varies significantly, making it difficult to predict financial stability and workforce needs.
• Uncertain work pipeline – orders are often sporadic, and businesses struggle with periods of feast and famine in terms of commissions.
• Overseas competition – The UK is still known worldwide as the centre of excellence for traditional skill and quality of craftsmanship. There are opportunities for this to be promoted further and for the UK to play to its strengths. The UK doesn’t have the workforce or capability to compete with oversees mass produced silverware and so must look to different markets.
• Non-disclosure agreements (ndas) – restrictive contracts prevent businesses from showcasing high-profile commissions, limiting future opportunities.
• Shrinking retail opportunities – The traditional markets for silverware are changing, with corporate and export commissions making up the majority of orders. The decline in demand for traditional silverware is not a new issue and the trend has moved towards one off commissions for private gifting, art collectors and corporate businesses.

Supply chain issues

• Import tariffs – increased costs due to tariffs on raw materials and finished products make it harder to compete in global markets. Shipping costs too
• Volatile material costs – precious metals such as silver are subject to constant price fluctuations, affecting profitability and pricing stability.
• Material quality issues – the availability and consistency of high-quality materials can impact production and final product standards.
• Fewer large contracts – the number of major commissions has declined, reducing the steady income stream for many businesses.

Business issues

• Premises – high rents, limited availability of suitable workshop space, and challenges in maintaining traditional craftsmanship within modern industrial regulations.
• Wage challenges – skilled craftsmanship requires high pay, but businesses struggle to afford competitive wages in a price-sensitive market.
• Rising energy costs – the cost of running high-energy-consuming equipment has surged, adding financial strain to workshops.
• Effluent disposal costs – the high cost of safely disposing of waste materials, including chemicals used in finishing processes, is a financial burden.

There are no organisations that solely support the allied trades, but there are a number that support the wider silversmithing and jewellery trade.

• Goldsmiths’ Company –supports the silversmithing sector through education, promotion of craftsmanship, and regulation of precious metal standards via hallmarking.
• The Goldsmiths’ Centre – Provides training, workspace, and business support for jewellers, silversmiths, and allied trades, fostering technical excellence and professional development.
• Contemporary British Silversmiths – Promotes modern silversmithing through exhibitions, education, and public engagement, championing the work of makers across the UK.
• British Academy of Jewellery – Offers specialist training and qualifications in jewellery and related disciplines, equipping future silversmiths with practical and design-focused skills.
• The Silver Society – Encourages the study, preservation, and appreciation of silver, supporting silversmiths through research, events, and a network of collectors and experts.
• South Square Trust – Provides financial bursaries and grants for individuals undertaking training in silversmithing, helping to make high-level skills more accessible.
• The National Association of Jewellers – Represents and supports businesses and individuals in the jewellery and silversmithing industries through advocacy, education, and ethical standards.

There are various routes into silversmithing from which trainees can then specialise in various allied trades.  Many of these will be learned on-the-job with a company or business that specialises in one or many allied trades.

Traditionally many of these trainees will have come through the apprenticeship route but now it is likely that many will be coming from university courses or other routes.

Apprenticeships

• British Academy of Jewellery: Jewellery, silversmithing, and allied trades professional (level 3)
• Goldsmith’s Company Apprenticeship Scheme

Undergraduate & Postgraduate Silversmithing Courses in the UK

• University for the Creative Arts (UCA) – BA (Hons) Jewellery & Silversmithing
• Birmingham City University – HND & BA (Hons) Jewellery and Silversmithing
• Glasgow School of Art – BA (Hons) Silversmithing & Jewellery
• University of Edinburgh – BA (Hons) Jewellery & Silversmithing
• London Metropolitan University – MA Jewellery and Silversmithing
• University of Plymouth (Truro and Penwith College) – BA (Hons) Silversmithing and Jewellery

Specialist and Short Courses

• West Dean College – Jewellery & Silversmithing Short Courses
• Goldsmiths’ Centre – Skills Training Programmes

Silversmithing training initiatives

Goldsmiths’ Centre  – Located in London’s Hatton Garden, the Goldsmiths’ Centre is a charity promoting professional training in jewellery, silversmithing, and the allied trades. It offers a range of programmes, including apprenticeships, short courses, and business development initiatives.

Bishopsland Educational Trust – Bishopsland is a charity dedicated to the training and education of emerging silversmiths and jewellers in the UK. Over the past 30 years, it has nurtured the careers of over 200 artisans through its intensive one-year residential program, which combines hands-on silversmithing techniques with business skills development.

South House Silver Workshop Trust – The Silver South House Trust is a registered charity that aims to train young silversmiths.

Contemporary British Silversmiths – Skills Training Programme

Incubator spaces for silversmiths

Yorkshire Artspace – Silver Space – Located in Sheffield, Yorkshire Artspace’s Silver Space is a dedicated hub for contemporary silversmithing. It offers fully equipped workspaces, including individual benches, a range of silversmithing tools, and access to specialized equipment like a fly press and metalwork lathe.

Marchmont Silversmithing Workshop – Situated on the Marchmont Estate in Duns, Scotland, this state-of-the-art workshop supports early-career silversmiths by providing a two-year tenancy with access to fully equipped facilities and mentorship from experienced professionals.

The figures below are estimates based on initial consultation with the sector. The UK Jewellery, Silverware and Allied Crafts Industry (UKJSAC) roundtable – a cross-industry group convened by the NAJ in 2023 – has identified lack of data as a key challenge facing the wider sector. In addition, the roundtable has highlighted the limited visibility and support around entry points and career opportunities within the sector as well as key skills gaps. UKJSAC is actively working with the UK government to address these issues, alongside other concerns such as the closure of further and higher education courses and the broader erosion of creative education.

Polishing – Estimated 6-10

Buffing/Sanding – Estimated 6-10

Hand chasing & repousse specialists – Estimated 4-8

Plating – Often congruent with polishing and buffing

Wire Drawing – Estimated 1-5 (1 at British Silverware, 1 at Toye, Kenning & Spencer)

Engine turned engraving – 6-10 full time professional makers (see separate listing https://www.heritagecrafts.org.uk/craft/engine-turned-engraving/ )

Silver spinning – 8 full time professionals, 6 part time professionals (see separate listing https://www.heritagecrafts.org.uk/craft/silver-spinning/ ) Dave Alison has retired. Christopher Perry is establishing a much bigger Spinning operation in his firm CK Crafthouse in Sheffield and took on Dave Alison’s lathe.

Hand engraving – 21-50 full time professionals, 11-20 part time professionals (see separate listing https://www.heritagecrafts.org.uk/craft/hand-engraving/ )

For all other allied trades we don’t have sufficient data at present. Heritage Crafts will be continuing to work with the UK Jewellery, Silverware and Allied Crafts Industry (UKJSAC) roundtable and other partners to address this.

Our thanks go to our 2025 contributors and reviewers:

• Warren Martin, Silverspinner
• Mark Latham, Lathco
• Richard Fox, Fox Silver
• Ray Walton, Silversmith
• Brett Payne, Silversmith
• Jackie Tear, Managing Director, British Silverware
• Angela Cork, Principal of Bishopsland Educational Trust
• Peter Taylor, The Goldsmiths Centre
• Karin Paynter, Independent trade expert
• Paul Savage, Workshop Manager at English Artworks

We consult with a wide range of practitioners and organisations to review and update the Red List. Some choose to remain anonymous but all feedback is taken into account.

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