Sunita Shekhawat reinterprets royal Indian men’s jewellery for modern collectors

Each precious jewel is a work of art. A flower in a man’s lapel has long signalled great style—pinning florals to their lapels in a nod to a more chivalrous era, one that allowed for frivolity, lightness, and a quiet kind of poetry. Mhaaro, a contemporary exploration of men’s adornment, the latest offering from the House of Sunita Shekhawat, repositions men’s jewellery as a powerful expression of identity, legacy, and individuality. The launch also marks the second edition of MOMH Collectibles and the first dedicated to men.

How historic royal ornaments were reinterpreted for today

Rooted in Rajasthan’s cultural vocabulary and the house’s legacy of meenakari, the collection brings together atelier creations, museum collectibles, and heirloom pieces in a compelling narrative of past and present.

Sunita has recreated historic ceremonial ornaments rooted in Hyderabad and Jaipur traditions, including the sarpech, jigah and turra — pieces historically worn by men as markers of status, lineage, and identity, now reframed within a contemporary collectible selection.

The sarpech is believed to have once been part of the Nizam’s treasury and has been reproduced with permission from the Museum of Fine Arts, Houston, Alfred C Glassell, Jr Accession Endowment Fund. The original design of the jigah, on the other hand, is based on a rare preserved drawing by Jaipur goldsmith Terhaswamiran Naarayanuj, who signed and dated the drawing in 1719.

The collection also includes a selection of necklaces, pendants, brooches, buttons, and cufflinks crafted in gold with polki diamonds, enamel, emeralds, rubies, and pearls. Key pieces include the Ruby Prism Necklace, Neelvana Necklace, Shree Nath Ji Pendant, Vihang Constellation brooches, and the Tiger Nail Pendant, each reflecting a balance of tradition and modern design.

Sunita Shekhawat tells us that the inspiration for Mhaaro came from a very instinctive place. “For years, I’ve worked with heirlooms that often belonged to men—sarpechs, kadas, turban ornaments—yet contemporary men rarely saw themselves reflected in that language of adornment. I wanted to reclaim that space. Mhaaro, which means ‘mine’ or ‘of me,’ is about identity and ownership, encouraging men to engage with jewellery not as occasion wear, but as an extension of self,” she shares.

The pieces come from a deeply ceremonial context. The sarpech, for instance, was a symbol of honour and status, worn on the turban. The jigah and turra carried similar weight. In reinterpreting them, we’ve tried to retain their essence while making them relevant, so they can exist beyond costume, almost as sculptural objects or wearable art.”

“Jaipur has a deeply rooted and distinctive jewellery tradition defined by the finesse of meenakari, masterful gemstone setting, and a rich vocabulary of cultural motifs. Mhaaro draws from this legacy,” says Sunita, who notices a clear shift in men’s jewellery.

“Men are becoming more open to embellishment, but in a way that feels authentic to them. It’s less about tradition as obligation and more about choice and expression. I think we’ll see a continued move towards pieces that are meaningful, versatile, and rooted in craft,” she adds.

Price on request. Available online.

—manuvipin@newindianexpress.com

@ManuVipin

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