On The Rocks

Perhaps what sets them apart is not only their glittering list of clients — Gem Palace has hosted the royals of Sweden, Spain and Belgium, Princess Diana, the Grand Duke of Luxemburg, the Mountbattens and the Crown Prince of Japan, among others — but also their keen sense of preservation and desire for innovation.

The brothers are typically tight-lipped about what their customers have picked up or paid for, but Hollywood stars like Errol Flynn, Pierce Brosnan and Goldie Hawn have been willingly seduced by an emerald rock and a gold-enamelled, ruby-encrusted bracelet. Rock star Mick Jagger and ex-wife Bianca have been drawn by the diabolic spell of blue sapphires while jewellers Louis Cartier and gem-hunters from Van Cleef & Arpels have played with bowls of finely cut emeralds and rubies. Designers Oscar de la Renta, Emanuel Ungaro and Donatella Versace, celebs Twiggy and Jackie Kennedy, and style magnet Liliane de Rothschild, have all swished through its doors and not left empty-handed.

Even today, it is word of mouth which bring in the hordes of haute stylists looking for gems, jewellery or the priceless bauble. ‘‘Jaipur was always the gem capital of the world, thanks to the foresight of its kings,’’ explains Sudhir Kasliwal, ‘‘and for centuries, dealers came from all over to buy and sell. The city was also universally acknowledged for its excellence in the art of gold enamelling, because of its colour and brilliance. It was only natural my forefathers built up a formidable reputation with their perfection and we are simply carrying it forward.’’

The strive for excellence was set by the Indian royalty who, according to Kasliwal, simply wanted the best. ‘‘Sometimes, craftsmen spent years creating a gold-enamelled, diamond-crusted belt or months over a set of emerald buttons. They were, of course, rewarded well, either with gold or land, so we created the best.’’

According to Kasliwal, Gem Palace began to first interact with western designers around the late 19th century when the famed jewellery houses of Europe like Cartier and Van Cleef & Arpels arrived in Jaipur to buy gems and finely cut stones. ‘‘We were well-known for stone cutting and polishing,’’ adds younger brother Sanjay, ‘‘and our visitors were in thrall that Gem Palace could do everything under one roof — buying and grading stones, cutting, polishing and designing. It is a one-stop deal even today.’’

It was not surprising that soon Indian influences on European jewellery began to appear and Louis Cartier created his first Indian-style jewellery in 1900 itself. While Gem Palace alone may not be responsible for this incredible voyage, Cartier’s fascination with the country continued (‘‘He visited us several times,’’ says Sudhir) and with its wealth of stones, vast spectrum of colour and material, Indian jewellers introduced the West to a treasure trove of unusual combinations — from motifs inspired by the marble friezes of palaces to combining luminous green agate with delicate pink coral.

Gem Palace, in turn, soon began incorporating western designs, says Kasliwal, which spawned several fakes in the international market. Vogue magazine reports how a necklace designed by Kasliwal’s father for Marella Agnelli, the style queen of Italy and Fiat wife, was such a favourite with her, that she had designer Kenneth Jay Lane copy them a decade later. Lane’s version apparently ended up in the collections of several style mavens like Annette de la Renta and Nan Kempner, and the designer gleefully recalls a charity event chaired by Agnelli (in her originals), attended by half a dozen smart ladies (in Lane’s fakes).

‘‘My father had made this exquisite ruby and emerald bead ropes for Marella in the Sixties,’’ informs Sanjay. ‘‘Forty years later, Marella insists on wearing only the necklace to every gala and the paparazzi have always wondered why she never wears anything else,’’ he says pointing to media clips.

The Kasliwal brothers have continued the tradition of designing jewellery and have, like their forefathers, never been to a design school. ‘‘It is in our blood,’’ says Sudhir plainly. ‘‘We have lived with artisans and craftsmen since our childhood so, we have the eye and feel for gems.’’ Gem Palace hires dozens of cutters, polishers and craftsmen, who sit in several rooms on top of the rambling haveli, and they painstakingly execute the designs given by the brothers.

In fact, in high season, it is not uncommon to see famous, young designers from all over the world casually sit around in the brothers’ den sifting through priceless gems or making blueprints for their distinctive collections. ‘‘This 22-carat fishnet necklace with tiny goldfish was designed by my friend, the architect Ashley Hicks (grandson of Lord Mountbatten) one evening,’’ says middle-brother Munnu. Designer Marie Helene de Taillac has created her famed 22-carat brushed patina necklace and other modern pieces here while Luigi Scialanga has incorporated antique stones and jewels into settings that evoke the pieces in ‘‘Medici’s cabinet of curiosities.’’

Perhaps it is Munnu who will be credited for globalising the family’s ambitions, a fact already acknowledged by Sudhir and Sanjay. ‘‘I was getting bored doing traditional jewellery,’’ he says candidly, having trawled gem mines as far as China, to find a stunning ruby stuck in a buffalo’s hoof there, ‘‘our clientele are trendsetters which the world follows, and they are people who have everything, so we have to constantly innovate.’’ The Kasliwals credit themselves for the use of coloured gems set in 22-carat gold, and for using traditional silver craftsmen to give gold that special texture.

‘‘We have also contemporarised diamonds to make it more casual,’’ says Kasliwal, ‘‘and have played with colours — like a dark amethyst on a light one. Fashion is so fluid and limitless today, we have created necklaces that turn into a bracelet or become an home decor accessory.’’

Kasliwal’s success in design and craftsmanship is reflected in the fact that last October, the Met, while exhibiting the Al-Sabah collection of Mughal jewellery, exclusively commissioned Gem Palace to design contemporary jewellery (a first for the museum). The pieces were priced between $100 to $50,000 and the bijou simply flew off the shelves despite September 11. The Met director, Philippe de Montebello, has commissioned a permanent window to Gem Palace this year. Kasliwal is also working on a collection for the snobbish Barney’s store in New York, the Third Millennium exhibition in 2003 and the crucial Byzantine collection in 2004, both to be held in America.

The jewel in the crown will be a museum the brothers are creating on the top floor, for their collection of antique jewellery and artefacts. It includes family creations like the enamelled 24-carat gold plate and spoon embellished with rubies and emeralds, a complete enamelled gold chess set studded with diamonds, an 18th century hansli (traditional Rajasthani necklace), plus art deco pieces by Cartier and Mauboussin, jewelled compacts by Ostertag, paintings and miniatures and, Mughal seal rings that go back to Shah Jahan, among other things.

The Kasliwals are discreet about where the objects come from but in the secret world of antique dealing, it is well-known that impoverished maharajas teetering on the brink of debt, have historically disposed off family heirlooms to rich jewellers.

‘‘At least we should be credited for preserving antiques by buying them rather than treating like us criminals,’’ says Sudhir, who is equally proud of his latest passion, his vintage car collection. ‘‘It is also time the government loosened its grip on the trade by liberalising laws so that we do not get overtaken by markets like Bangkok and Hong Kong,’’ he adds sombrely.

So, what is their ultimate dream now that they have everything — fame, fortune and a sumptuous life? ‘‘To be known not for whom you sell to but simply because who we are,’’ they chorus.