A Fresh Wave of Indian Jewelers Merging Innovative Designs with Time-Honored Craftsmanship
Imagine a world where contemporary elegance meets the rich tapestry of heritage—this is the exciting forefront of Indian jewelry today! But here’s where it gets truly captivating: a new generation of jewelers is rejuvenating traditional Indian artistry by infusing it with modern aesthetics, and the results are nothing short of breathtaking.
Picture an August evening in Mumbai. Rahul and Roshni Jhaveri, the visionary founders of the contemporary jewelry brand Studio Renn, are settled at their home in the elegant Malabar Hill area. They connect with a reporter via video call, and the conversation steers toward their innovative two-year-old Godna collection. The name "Godna" is drawn from an Indigenous term that signifies tattoo art—an art form deeply rooted in the traditions of the Baiga tribe in Madhya Pradesh, India.
"For these women, getting a tattoo is a significant rite of passage that begins at a tender age," Rahul enlightens. "By the time they enter matrimony, they are often fully adorned with tattoos instead of traditional jewelry, as they possess few material possessions."
Rahul takes a moment, then reveals his own experience. "In fact, I recently acquired a hand-poked tattoo—a sizable piece that has come to define a part of who I am." Standing up, he reveals his shorts, showcasing the intricate black ink patterns that trail from just below his left knee to his ankle. "These are crop lines," he gestures to three parallel lines just above his ankle. The chevrons, he elaborates, represent fish bones while a simple circle with a dot below his knee symbolizes a diya, or a traditional oil lamp, representing the light of life.
The clean simplicity of his tattoo mirrors the aesthetic of the Godna collection, which displays sleek curves of polished 18-karat yellow gold, with elegant pavé diamonds accentuating larger stones. Unlike traditional Indian jewelry, often known for its opulent styles and bold gemstone combinations, this minimalist approach is indicative of a broader evolution within contemporary Indian jewelry. Marion Fasel, a jewelry historian and founder of The Adventurine, emphasizes this transformation, stating, "While many can appreciate the Mughal aesthetic, the vocabulary of Indian design is far more expansive, and many artists are forging new paths."
A prime example is Viren Bhagat, a Mumbai-based jeweler whose unique creations weave together elements of Mughal architecture with the refined elegance of Art Deco. He is committed to using only the rarest gems, crafting fewer than 60 pieces each year, enhancing his prestige with strong auction results. Recently, he opened his first salon outside India in London’s opulent Mayfair, a mark of his growing international recognition. Ask many aspiring jewelers of Indian descent, and they will often express a desire to mirror Bhagat's remarkable success.
Joining Bhagat on this creative journey are a vibrant group of Indian designers, such as Hanut Singh from Delhi, who creates striking pieces blending colorful gemstones with pearls and coral, showcasing a modern interpretation of Mughal aesthetics. Kolkata's Sabyasachi Mukherjee, another beacon of success, has gained international acclaim for his luxurious jewelry that resonates in high-end venues like Bergdorf Goodman. Together, these artists embody a contemporary jewelry community, each interpreting traditional craftsmanship through their unique lenses formed by experiences both at home in India and abroad.
Milan Chokshi’s journey serves as a potent example of how this dynamic group of designers is progressing. In the 1990s, Milan, the founder of Moksh, became immersed in the world of gemstones while studying at the Gemological Institute of America in California. He subsequently worked with his family’s jewelry business, creating affordable items for Western retailers. In 2004, he opened a by-appointment salon on Hughes Road in Mumbai, driven by the realization that the market craved luxury pieces that reflected a blend of Indian influences and contemporary sophistication.
"Having grown up in the ’90s, I witnessed the evolving global landscape, and I realized there were many individuals who desired a unique shopping experience, especially when it came to luxury jewelry in India," Chokshi explains during a recent call from his home. "Initially, the jewelry tastes were heavily inspired by Western trends. Women would often come in with a magazine image of a foreign brand, saying, ‘I want to recreate this.’ This mentality stemmed from a colonial past, instilling a belief that international products were superior."
"But that’s changed!" he exclaims with a hint of pride. Nowadays, Moksh's clientele searches for intricate designs steeped in Indian heritage. One standout example is a handwoven bracelet crafted from hundreds of delicate keshi pearls, meticulously stitched together and adorned with a floral motif made of baguette diamonds—truly a testament to exceptional craftsmanship that stands apart in today's market.
Meanwhile, Akshat Ghiya, the founder of Tallin, a fine jewelry brand based in Jaipur, finds inspiration in Indian artistry through a slightly different lens. Growing up in Padua, Italy, where his father ran a gem trading business, he absorbed influences from both cultures—Italian delicacy and Indian vibrancy. After an education at Northwestern University in the United States and stints exploring diverse career options, Ghiya made the bold decision to return to Jaipur.
"Today, the jewelry I create reflects my unique upbringing," he remarks, acknowledging the different aesthetics of Italian and Indian designs. "Sometimes our pieces are perceived as maximalist and vibrant, whereas many of our Indian clients might comment, ‘Why are your designs so understated?’ My work merges both influences."
Ghiya categorizes his collection into two distinctive lines: Gentle Forms, renowned for floral motifs with uncut polki diamonds and uniquely shaped colored stones, and Sharp Forms, characterized by geometric, Art Deco-inspired designs incorporating carved emeralds and other striking stones. Although they offer contrasting atmospheric vibes, both lines are united by a deep-rooted appreciation for traditional Indian techniques still cherished today.
"Although our influences are global, they carry a unique Indian essence," Ghiya passionately declares. "We are dedicated to handcrafting jewelry, avoiding modern technology like CAD or 3D printing. We are preserving a rapidly disappearing craft—pure hand goldsmithing, which still thrives here."
The name of Ghiya’s brand, Tallin, further encapsulates his international vision, rooted in a Sanskrit term that conveys an intense passion. "To become tallin means to become obsessed or infatuated to the point of madness," he clarifies. "I sought a term rich in ancient significance from my homeland, yet imbued with a global nuance. It’s a word that transcends cultural boundaries."
Working closely with Jaipur’s skillful lapidaries, Tallin is able to create custom-cut stones, continually experimenting with innovative shapes. "Almost every piece of our jewelry incorporates diamonds, which adds another facet to our unique identity," Ghiya adds.
Krishna Choudhary embodies the fusion of ancient charm and modern aesthetics through his lineage as a 10th-generation jeweler from Jaipur. A passionate collector of Indian artifacts and contemporary art, Choudhary initially contemplated a career in hospitality before being captivated by the alluring gems that have been part of his family for generations. "Once I had the chance to examine a stone closely, there was no turning back," he recalls, detailing how each gem’s character reminds him of the heirlooms housed in his family’s noble estate in the Pink City.
In 2019, while living in London, Choudhary established Santi, his high-jewelry brand named in honor of his father, who has long overseen the family-run business, Royal Gems & Art. His vision for Santi embraces both a respectful nod to the past and a step towards a fresh creative direction. Recently, during an exhibition in Los Angeles, he showcased an 18th-century navratna bangle, representing a fusion of nine sacred gemstones, each corresponding to a different celestial body.
"We can’t enhance this craftsmanship further," Choudhary states, referring to the exquisite meenakari enamel work adorning the bangle. "We’ve reached a pinnacle of excellence with this technique, which has been dwindling since the 17th century, represented beautifully in the cushion-cut brown diamonds surrounded by delicate lines of negative space in our cartouche earrings."
"My pride in my Indian heritage runs deep," Choudhary asserts. "While I am rooted in my culture, my experiences have unfolded in a global context. I’m an avid collector of contemporary art, and this enriches my design dialogue as a jeweler."
Arun Bohra, who founded Arunashi in Los Angeles in 2004, shares this blend of heritage with innovation. After studying in Japan during the early 1990s, where he launched a gemstone trading enterprise, he became fascinated by unique materials that set him apart from the traditional Indian jewelry industry. "My focus shifted towards exotic stones, such as color-changing alexandrites, instead of conventional emeralds—because I wanted to break free from conventional labels as just another Indian jeweler," he explains.
Today, Arunashi pieces—like striking cuff bracelets made from carbon fiber adorned with pavé diamonds and featuring bold gemstones—are showcased in prestigious establishments, including Marissa Collections. There, these exquisite designs share space with other talented jewelers of Indian descent, further elevating the status of Indian craftsmanship on a global scale. "Our clients resonate with the rich storytelling, the artisan skills, and the innovative use of materials that define our work," explains Jennifer McCurry, the lead fine-jewelry curator. "While traditional pieces remain culturally significant, Indian jewelry is now recognized and celebrated globally for its artistry and skilled craftsmanship, standing shoulder to shoulder with renowned French, Italian, and American houses."
The rising acceptance of Indian design is a pivotal factor why Bohra no longer shrinks from the 'Made in India' label. "As we have grown as a brand, I have observed the incredible advancements in craftsmanship—not just within our workshop but throughout the industry, including talents like Bhagat and Choudhary. I’ve done a complete turnaround. The label now holds pride for me," he asserts with confidence.
