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Studio Practices

We strive to create a healthy studio environment, for our small team, our clients, and neighbors. Our studio eschews traditional jewelry industry chemicals, such as Sparex Acid, Chemical Oxidizers, Plating, and so on. Our production is limited, we never over produce, guaranteeing materials are consciously consumed and our restrained volume means our finished pieces are not flooding the market and contributing to retail glut. 



An alloy of copper and tin, brass has been used in jewelry since the Medieval era for its workability and easily manipulated appearance. Contact with skin will sometimes leave a temporary and painless dark mark, especially during periods of humidity. Depending on your preference, you can polish brass to a high shine for a gold-like appearance, or allow it to oxidize, giving it a more aged look. Brass is easily cleaned with household substances like toothpaste and ketchup, but we advise that you use care when cleaning your brass jewelry, and avoid letting any cleaning products come in contact with the fiber. A soft polishing cloth works great for this.



We use 100% Recycled Gold during the casting process in NYC. We prefer to use 14K gold, coming in either Yellow Gold or Rose Gold. Due to gold's non-tarnish nature, simple warm water and mild soap will remove dirt and oils to restore original luster.


Sterling Silver

Because pure silver is too soft to use in its elemental state, jewelers have used sterling silver (an alloy of silver and copper) since the 12th century to produce objects with a bright white luster that naturally resist tarnish. Silver can also be cleaned with a variety of household products, but again, we advise that you avoid letting cleaning products come in contact with fibers, and advise using a soft polishing cloth.


Vintage Components

Sourced from dead-stock warehouses in the Northeast United States, these 'rescued' metals are non-ferrious and nickle free. We often re-work these limited edition finds or use them as sources of inspiration.



We use natural fibers like cotton, silk, and linen, and dye these materials with natural, plant-based dyes sourced sustainably by providers that we trust. You can read about the dyes in more detail below—most of them have been used for centuries with the same methods that we employ to this day. Because of these natural processes, the color can change over time, and with exposure to the elements. Lessening the fiber’s exposure to sun, water, and direct contact with skin will help preserve the integrity of the dye.


About the Dyes 


Fustic is one of the classic natural dyes—an extract prepared from the heartwood of Chlorophora tinctoria, a tree from the Mulberry family. Fustic is sustainably harvested.



Indigo is one of the oldest known dyes, dating back to 3000BC. Through proper extraction, indigo plant can produce a spectrum of blue hues, ranging from light to deep midnight blues. We utilize a non-toxic, lye-free extraction process, to minimize exposure to the caustic.


Logwood Black

A 3 day multi-step process involving iron and tannin mordanting, and multiple dye applications of fustic and logwood.


Tea Tannin and Iron

This mixture is prepared in Erin Considine's studio from black tea leaves and rusting metal objects submerged in water and vinegar. This cocktail produces a warm ecru on silk and linen.



An abundantly-growing legume tree native to the Caribbean, logwood can produce a range of colors, from a very pale purple to true black. The dye comes from the bark of the tree, which is wild crafted and harvested sustainably.



A multi-step dye application process where a series of dye layers create an exclusive and one-of-a-kind colorway.


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