Much like my jewels, my roots are deeply embedded in the traditions and heritage of my origins. As a jeweler by trade and by history, I use old world craftsmanship with old-fashioned materials. Yet these are jewels for a modern woman, a woman who is strong and compassionate; a woman who is unrestricted and a woman who is not afraid of being true to who she is.
There are a lot of emotions behind the jewelry I am now offering to the world, from power and courage to playfulness and sensuality, and even a deep-seated spirituality. Having always been mesmerized by the grandeur of the bygone eras and secrets of the past, they make their way into these pieces. Much of the jewelry also explores the concept of duality forming a whole, the yin-yang of things, and the very fabric of nature found everywhere, in everything.
My inspirations are drawn from a multitude of things, cultural and mythological symbols of India, of both her past and present. From impressive architecture of Mughal and Rajput fortresses, to frescoes found inside the tiniest crevices of abandoned Indian havelis. They’re drawn from religious and sentimental vernacular art forms hand painted on rikshaws, and trucks of doting owners. They echo 17th and 18th century calico textile prints of European patterns haunted by the country’s Mughal legacy. From these pieces of the past, whilst anchored to the present, come these tiny but fully-formed works of art.
Agaro has a special meaning for everyone who encounters it, but for me it’s about rebirth. The amazing fusion of glass and metal happening under the flaming hot temperatures of the kiln, burning away the impurities and giving these separate entities a new, single identity, is a metamorphosis which is spellbinding to me. And for my personal journey, it was pretty much the same, entering into the world of the artisans was like walking into a kiln. Even today, I am reborn each time I enter their magnificent world, with a fold of my hands and a bow of my head.