The Workshop

Manufacturing

A working floor,
not a showroom

Four hundred square metres in Jaipur where wax is cut, metal is poured, stones are set by hand and every piece is looked at through a loupe by somebody who did not make it.

4yrs
The house, so far
250+
Stone varieties held
26
Export markets
1
Minimum order quantity
The Jaipur working floorA line drawing of the ANAGARI workshop in elevation: four setting benches with task lamps and cutaway aprons, a casting station with a flask oven, and a polishing motor along the back wall.
The Jaipur floor — setting benches, casting, finishing

The floor

Everything happens here

Most manufacturers in this trade are assemblers. The casting is subcontracted, the setting goes to a bench two streets away, the plating to a third party who also does hardware fittings. Each handoff adds a week and removes somebody's accountability.

We took the opposite decision at the outset and have not regretted it. Casting, setting, lapidary, plating and quality control are all our own people on our own floor. When something goes wrong we can walk twenty metres and look at it, which is why our remake rate is where it is.

Concept to carton

Nine stages, one building

Drag the track. Every stage below happens in Jaipur, under the same roof and the same supervisor, which is the only reason we can promise a date and mean it.

CAD developmentA monitor showing a wireframe ring in three-quarter view, with dimension callouts.
Design & CAD
CastingA crucible tipping molten metal into an invested flask, with the tree of wax patterns visible inside.
Casting
Stone settingA jeweller's loupe held over a claw setting, the stone and four prongs magnified beneath it.
Stone setting
PolishingA bench polishing motor with a bristle wheel spinning, a ring held against it.
Finishing
01

Concept

A brief becomes a direction. We argue about proportion, wearability and price band before anything is drawn properly.

02

Design & CAD

Hand drawing goes to parametric CAD. You get turntable renders and a stone plot to sign off before wax is cut.

03

Prototype

Resin print, cast, and a first article finished to production standard — the piece you approve is the piece you receive.

04

Stone selection

Parcels are pulled, laid out under standard light and matched across the run for colour, cut and depth.

05

Production

Casting, filing, setting and assembly. Work is batched by operation so a run stays consistent piece to piece.

06

Finishing

Pre-polish, setting-back, final polish and plating. The stage that separates a good casting from a finished jewel.

07

Inspection

Six gates, ten-power loupe, weight and dimension logged against the approved article. Failures return to bench, not to you.

08

Packing

Individually pouched, boxed to your specification, and carton-packed with a manifest that matches the invoice line for line.

09

Delivery

Insured and documented to your door — customs paperwork, assay certificates and lab reports travelling with the goods.

Capability

What the bench does

Twelve disciplines under one roof in Jaipur, which is why a piece never leaves the building to have one thing done to it and come back a fortnight later.

Full service list

Custom manufacturing

Your drawing, your reference photograph, or a conversation and a napkin. We take the idea to a wearable first article and then to a repeatable run.

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Private label

Made under your name from the first wax. Your hallmark, your inner-shank stamp, your box and your papers — our bench stays invisible.

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Gemstone sourcing

Calibrated goods matched across a run, or a single exceptional stone hunted down. Jaipur is the world's cutting floor and we work it daily.

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Micron plating

Rhodium, ruthenium, yellow and rose flashes laid down to a stated micron thickness and verified, not eyeballed against a colour card.

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Vermeil

Heavy gold over sterling, plated to a genuine 2.5 micron floor on a nickel-free base — vermeil that survives a season of real wear.

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Diamond jewellery

Natural and lab-grown, pointers through solitaires, pavé and channel and bezel. Melee matched by colour and cut within the parcel.

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Pearl jewellery

Akoya, freshwater, Tahitian and South Sea, drilled and knotted in-house. Graded for lustre and nacre before a single strand is strung.

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Sterling silver

925 as standard, anti-tarnish alloys where a market demands it, and casting fine enough to hold a hallmark on a two-millimetre shank.

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Enamel

Cold, hard-fired and champlevé. Colour matched to your reference chip and fired to a depth that will not chip at the shoulder.

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Carved stone

Intaglio, cameo, cabochon and fantasy cuts carved on our own lapidary wheels — mother-of-pearl, onyx, malachite, carnelian, jade.

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Substitute stones

Moissanite, CZ and lab corundum cut and set to the same tolerances as the natural goods, for programmes that need the look at a price.

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Findings and components

Clasps, posts, backs, bails and chain made to your gauge so a repair or a re-order ten seasons out still matches the original.

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Assurance

Nothing advances on
somebody's word

Quality control that reports separately from production, because an inspector who answers to the person whose numbers he is checking is not an inspector.

Authentic materials

What the invoice says is what the parcel contains. Metal is assayed, stones are identified, and nothing is described optimistically.

Certified stones

Qualifying stones ship with IGI, GIA or GJEPC paperwork. Below the certification threshold we issue our own signed identification.

Six inspection gates

Wax, casting, pre-set, post-set, finish and pack. Each gate is signed, and a rejection goes back to bench with the reason attached.

Responsible production

Recycled metal as the default feedstock, closed-loop polishing sludge recovery, and no child or bonded labour anywhere in the chain.

Ethical sourcing

Kimberley-compliant rough, named cutting houses, and a supplier list we will show you rather than describe.

Transparent workflow

A shared production tracker with photographs at each gate. You can see where your order stands without asking for an update.

Dates that hold

Quoted lead times carry a stated confidence, and if a date is going to slip you hear it from us before it does.

Begin

Bring us the collection
you have been putting off

Send a sketch, a reference photograph or a paragraph describing what you have in mind. You will get a costed, itemised response from a person who has read it — usually inside two working days.