Tarang Arora, Creative Director and CEO, Amrapali Jewels
2013-’14: Manish in the club: Around the same time Amrapali launched its e-store, tribeamrapali.com, the brand teamed up with Manish Arora for four collections. Tribal pieces were re-imagined with the use of meenakari (enamelling) and 18k gold plating. “Manish delved into Amrapali’s extensive archives to create antique-inspired jewellery, but using a contemporary colour palette,” shares Tarang.
A popular piece was the ‘Queen of Heart’ (above), a quirky take on the Rajasthani bangdi. One of the collections, inspired by Arora’s visit to Burning Man in Nevada, also made it to Paris Fashion Week.
2014: A popular collection was Dark Maharaja, “a Gothic line that captured the darkness of war, engraved with symbols [from] mythologies”. Singer Rihanna sported the ear cuffs on the cover of ‘W’ magazine.
2015: Tribal chic: Tribe — led by Tarang’s wife Akanksha as CEO, and launched to offer jewellery at accessible price points — also brought out an iconic collection, Chandrika, named after a book they published in 2001. “It was about tribal Indian jewellery, with old pieces and old school photography,” says Tarang.
Adding that the line was created to “make it more accessible for the younger lot”. While traditional and tribal styles were popular in the earlier years, Tarang believes “simple is the new chic”. The demand for jadau and enamel continues, but in more wearable sizes.
2018: At the museum: Early last year, Amrapali opened its museum in Jaipur, a project that took five years, but had been evolving for much longer. “[The co-founders] had learnt from society, earned from the people, and are now giving back [through] the museum,” shares Tarang. On average, the pieces on display date back at least two centuries, but he adds that it is tricky to pin-point exactly how old some items are.
Among the earliest pieces collected is a silver betel leaf container, and a nephrite jade book stand with gold inlay work (seen here). Some of the brand’s own designs take inspiration from the museum’s pieces, like the Makra bracelet from the Chandrika collection — it adapted the details of a bracelet from Himachal Pradesh.
1979-’80: Jaipur to Coachella: While travelling the country with their handicrafts business, a request to sell garnets in Delhi got co-founders Rajiv Arora and Rajesh Ajmera (seen on the left) interested in ornaments.
They were especially intrigued by tribal jewellery, because the pieces had unique purposes for different communities. “For some, it was their wallet,” says Tarang, explaining how tribes wore jewellery around their legs to sell if they needed money.
Soon, their collections at their Chameliwala market store in Jaipur (pictured here) caught the eye of actors like Rekha and Dimple Kapadia, and the attention snowballed. Tarang insists their ethnic designs inform similar patterns found in Colaba Causeway or flaunted at Coachella.
1980s-early 2000s: Red carpet vibe: The first time Amrapali made an impact abroad was when they designed pearl necklaces for (the 1984 miniseries) The Far Pavilions. Since then, their designs have been donned by characters from Troy (2004) to Baahubali 2: The Conclusion (2017) and Manikarnika (2019).
By the early 2000s, Amrapali frequently appeared on red carpets. “We’d not even know we were being worn,” laughs Tarang. “Some American publication would print those pieces and we’d get scanned copies sent to us. Then the world of Getty Images began.”
Last year, at Cannes Film Festival, Sonam Kapoor (pictured) completed her ensemble with an Amrapali jada in her hair.
Photo: Picasa
2012: The crown affair: Harrods displayed 31 crowns for Queen Elizabeth II’s Diamond Jubilee celebrations, which included one designed by Amrapali (in collaboration with Apeejay Tea). The jewellery brand had become a part of the department store’s Fine Jewellery Room in London the previous year. “We wanted [the crown] to represent India,” says Tarang.
Photo: British Ceremonial Arts Ltd
The design included miniature elephants, a teapot (to represent the famous Darjeeling tea), and semi-precious stones. One design decision that Tarang still can’t get behind, however, is the use of faux tiger skin. “It was not the nicest thing at that time,” is all he says.