Naru Rhodium & Naru Casting

The bright, neutral mirror finish — what makes white gold read as actually white rather than faintly yellow-grey. Laid at a proper thickness over a barrier coat where the piece is silver.

Yellow and white on one piece. Everything that must stay gold is masked off by hand before plating, so the boundary is drawn rather than machined — which is where the whole skill of a two-tone sits.

A warm rose cast, used on its own for a softer piece or as the second colour where a yellow-and-white two-tone would be too stark.

Deep gunmetal. Used for oxidised and contemporary work, and because a white diamond reads noticeably whiter set against black rhodium than against yellow metal.

An aged finish that settles into the recesses and leaves the high points bright — the depth that carved and temple work is designed to show, and that a uniform plate flattens out.

Worn pieces stripped, cleaned, polished and replated. A ring usually wants this every twelve to twenty-four months; earrings and pendants often never do.

Master model to vulcanised rubber mould to wax to metal. One master becomes as many matched pieces as the order needs, cast, cut from the tree and filed ready for finishing.

Fine steel pins driven by rotating magnets, reaching inside chain links, filigree and galleries where no cloth wheel can go. It burnishes rather than cuts, so detail and weight both survive.

Charged thread drawn through the piece by hand — between links, behind settings and inside carved openings. Pure hand work, and the only thing that reaches those places at all.