Verdora began in 2011 in a rented corner of a Brooklyn casting house, with one bench, one rolling mill, and a stubborn idea: that the person who sketches a piece should be within arm's reach of the person who sets its stones. Fifteen years later we occupy a full floor on Grand Street, and that arm's reach hasn't grown an inch.
We work almost entirely in recycled precious metals, refined and assayed in the United States, and in stones we can trace to the mine or the estate they came from. Not because it photographs well — because we have to look our clients in the eye when they ask.
Most of what leaves the atelier will outlive us. We think about that a lot. It's why every Verdora piece is engineered to be repaired, resized, and eventually re-imagined for whoever inherits it.
