We at Zinarya pride ourselves in offering truly modern designs to the Indian jewelry consumer. However, from a layman’s perspective, the difference between modern and traditional design lies somewhere within the 50 shades of grey.
For a general consumer the science or approach to design may not mean much, but it has significant influence on their selection and buying patterns. For instance, it is not mere coincidence that the most frequently found motifs in traditional jewelry complement the motifs used in apparel such as sarees or bridal dresses. Although both jewelry and apparel come from different sources, both houses have converged in terms of complementing each other’s design elements for allowing the consumer to pair them appropriately.
From our perspective, a hallmark of true modern design lies in the divergence from the key elements that form the core of traditional design, be it in any field of design. To understand this in the context of jewelry, it is essential to understand the traditional jewelry designing methodology first.
A typical traditional jeweler’s design toolbox contains the following three tools:
Manufacturing Technique: handmade, machine made, casted, etc.
Karigari: Meenakari, Pacchi, Filigree, Kundan, etc.
Motifs: floral, leaves, birds, animals, figurines, etc.
A traditional designer (or sometimes karigar) mixes and matches various motifs with the various karigaris keeping in view the manufacturing technique in which they have expertise. Voila! You have a new design. One should not underestimate the repertoire within each of these tools, which is vast, and the various permutations and combinations that can yield an infinite number of designs. However as much as the new design appears different superficially, it is more or less similar to previous products designed by the designer or karigar, given the use of the same set of design elements. These elements get more narrowed progressively as the expertise and style of the designer gets refined over a period of time. It is no wonder then that certain designers or jewelers are associated with specific styles, which sometimes mutate into their signature style.
At Zinarya, we make a conscious effort not start with the traditional toolbox when approaching a new design. We start from a concept and find the mathematical or algorithmic logic to apply for that concept. For instance, in nature one finds a multitude of patterns that can be linked to the Fibonacci series and its advanced mathematics. So we created an algorithmic program based on the mathematics of Fibonacci series to develop an array of products, which we call our VIRAH collection.
It is interesting to note that none of the designs from the Virah collection use the motifs or styles from the traditional toolbox. That does not mean we shun traditional design. On the contrary, we sometimes avail the elements of the traditional toolbox to embellish our designs. However we fundamentally avoid beginning from there.
Coupled with our expertise in applying 3D printing technology for manufacturing, our design capabilities take on a new avatar. We are able to introduce intricacy and complexity in jewelry, which can be realized with the required precision only through 3D printing. For instance, our earring “Khufu”has been designed algorithmically such that it looks different in each angle of view. It may look simple to a consumer, but it would be extremely difficult to replicate it using traditional design methodology and manufacturing techniques. Thanks to 3D printing technology, we can make it in one piece with high precision with respect to the straightness of lines and accuracy of the angles between them. In a traditional set up, it would require innumerable joints and handwork leading to imprecise finish.
All these aspects of design and manufacturing allows us to operate out of the traditional design framework to develop truly modern designs, which can be paired very well with western attire. We find most western attire for women is not embellished using artwork or motifs. Given the lack of frequently occurring motifs, we feel that our jewelry is more easily paired with western attire. This is a market segment that has often been neglected by existing jewelers and Zinarya is trying to fill that gap.
We, by not means, say that they cannot be paired with traditional apparel. For every wedding, there is also a Sangeet and a Reception, where women are increasingly opting for western or Indo-western attire. In fact, an increasingly younger population, with their own sense of style, is using our jewelry in combinations we can never imagine.