Indian jewelry is undergoing a quiet revolution, and it’s about time the world took notice. A new wave of designers is rewriting the rules, blending ancient traditions with bold, modern aesthetics. But here’s where it gets controversial: are they preserving cultural heritage or diluting it? Let’s dive in.
On a warm August evening in Mumbai, Rahul and Roshni Jhaveri, the visionary duo behind Studio Renn, sit in their Malabar Hill home, discussing their groundbreaking Godna collection. Inspired by the Baiga tribe’s tattoo art from Madhya Pradesh, these minimalist pieces in 18-karat gold and diamonds are a far cry from the maximalist designs typically associated with Indian jewelry. Rahul, himself adorned with a hand-poked tattoo mirroring the collection’s motifs, explains, ‘For Baiga women, tattoos are a rite of passage, a form of self-adornment in the absence of material jewelry.’ This personal connection underscores their mission: to honor tradition while pushing boundaries.
And this is the part most people miss: Indian jewelry is no longer just about Mughal-inspired opulence. Designers like Viren Bhagat are redefining the landscape, merging Mughal architecture with Art Deco minimalism. His success—opening a salon in London’s Mayfair—has become a beacon for aspiring Indian jewelers. Similarly, Hanut Singh’s talismanic designs and Sabyasachi Mukherjee’s opulent creations showcase a 21st-century jewelry diaspora, where tradition meets global innovation.
Take Milan Chokshi, founder of Moksh, who pivoted from mass-producing jewelry for Western retailers to crafting bespoke pieces that celebrate Indian craftsmanship. ‘Indian consumers once sought Western designs,’ he reflects, ‘but now they crave intricate, heritage-inspired pieces.’ His handwoven keshi pearl bracelet, finished with floral baguette diamonds, is a testament to this shift. But is this revival of traditional techniques sustainable in a fast-fashion world?
Akshat Ghiya of Tallin, based in Jaipur, offers a unique perspective. Raised in Italy and educated in the U.S., Ghiya blends Italian delicacy with Indian maximalism. His collections, Gentle Forms and Sharp Forms, feature uncut polki diamonds and geometric emeralds, all handcrafted without CAD or 3D printing. ‘We’re preserving a dying art,’ he says. Yet, his brand’s name, Tallin, derived from Sanskrit, hints at a global identity. Is this fusion authentic, or does it risk losing cultural roots?
Krishna Choudhary, a 10th-generation jeweler, grapples with similar questions. His brand, Santi, pays homage to Indian traditions like meenakari enamel work while incorporating contemporary art influences. ‘I’m proud of my Indian heritage, but I’m also a global citizen,’ he says. Arun Bohra of Arunashi echoes this sentiment, having moved from Jaipur to L.A. to create pieces that blend avant-garde materials like carbon fiber with rare gemstones. Are these designers Indian jewelers, or are they something entirely new?
As Indian jewelry gains global recognition, the debate intensifies. Jennifer McCurry of Marissa Collections notes, ‘Indian jewelry is now celebrated for its craftsmanship and innovation, alongside French and Italian ateliers.’ But what does this mean for the future? Will the next generation preserve or redefine India’s rich jewelry heritage? One thing’s certain: the conversation is far from over. What’s your take? Are these designers honoring tradition or reinventing it? Let’s discuss in the comments.