Unveiling a striking fusion of heritage and purpose, the MISHO x Princess Gauravi Kumari JAIPUR collection redefines contemporary artistry with a strong purpose. Inspired by the vibrant architecture, rich culture, and indomitable spirit of the Pink City, this collaboration brings together bold design and meaningful impact. Each piece is a tribute to the essence of Jaipur, while also empowering women artisans across Rajasthan through the Princess Diya Kumari Foundation (PDKF). A portion of the proceeds—and 100% of the sales from a bespoke jewellery bag charm—go directly to support the foundation’s initiatives, making this collection a powerful statement of tradition, creativity, and social good.
SUHANI PAREKH, Founder and Creative Director, MISHO, speaks about the two significant firsts by her – one, her entry into the fine jewellery segment, and two, her collaboration with PDKF. For the JAIPUR collection, melting old generational gold jewellery of her ancestors and repurposing it into new-age jewels was an emotional journey, just as it was with the tie-up with PDKF which supports woman empowerment, a purpose close to both Suhani and Princess Gauravi Kumari.
Tell us more about the collaboration with Princess Gauravi Kumari—how did your shared values shape the final vision of the collection?
Princess Gauravi and I connected over a shared love for Jaipur, design, and the desire to tell a different kind of Indian story.
She brought with her not just a deep cultural understanding but a modern, grounded sensibility. There was a natural synergy in our values – of heritage, independence, and redefinition.
Supporting the Princess Diya Kumari Foundation (PDKF) felt deeply aligned with the essence of the JAIPUR collection—which, at its core, celebrates heritage, craft, and the transformative power of art.
You melted down your personal heirloom gold for the JAIPUR collection—was that an emotionally difficult decision, or did it feel empowering to transform it into something new?
It was both deeply personal and incredibly empowering. That gold carried generations of memory, and transforming it was my way of honouring the past while making space for something new.
I wanted the collection to feel intimate, grounded in heritage but reimagined through a modern lens. It felt like the perfect material to begin this chapter in high jewellery. It gave the collection emotional weight, and a kind of quiet power.
The gates of City Palace, Jaipur, sparked the idea for this collection—tell us about the moment that unlocked something creatively for you?
Jewellery, like architecture, is about creating something timeless, a talisman that crystallises memories, stories and beliefs.
I was especially drawn to the symbolism of the gates themselves: thresholds between the physical and spiritual realms. That sense of transition, of being in a liminal space, felt deeply present when I stood between the four gates of the Palace’s inner courtyard. Each gate is said to represent a season, and in that moment, they brought to mind the transient nature of reality and the quiet beauty of moving from one state to another.
How did working with gemstones and colour for the first time shift or challenge your usual minimalist design language?
Working with colour and gemstones added a new layer of expression to the language I’ve been building with MISHO.
At first, I was cautious. I didn’t want the pieces to feel too ornate or traditional. But I realised that minimalism isn’t about austerity; it’s about intention. So, I approached the stones with that mindset – setting them in clean, sculptural forms that allowed them to breathe and glow. The colours weren’t just decorative, they became part of the structure and story.
Each gemstone was chosen to reflect the spirit of the gates and the seasons they represent – sapphires for the Peacock Gate’s deep autumn blues, emeralds and pink sapphires for the spring and summer tones of the Lotus and Leheriya Gates, and rubies inspired by the rose motifs of the Winter Gate.
Sourcing them from Jaipur’s historic Johri Bazaar further wove Jaipur’s history and craftsmanship into each piece.
JAIPUR uses traditional techniques like meenakari and the use of pearls with contemporary forms—how do you balance preserving heritage with driving innovation?
That balance was central to the collection. I’ve always admired the mastery of traditional Indian craftsmanship, and with JAIPUR, I wanted to celebrate it without replicating the past. I reimagined meenakari in a minimal palette, used pearls sculpturally, and drew from architectural motifs instead of florals. The goal was to create something that carried the soul of India, but looked contemporary and future-facing.
Heritage as a springboard, not a boundary.
You’ve said the JAIPUR gate earrings are like ‘tiny portals’. Do you view jewellery as a kind of storytelling medium, or even escapism?
Jewellery, to me, has always been a vessel for memory and emotion. Every collection marks a transition, a shift from one idea to the next. With JAIPUR, it feels like stepping into a space that’s always existed in my imagination, now brought to life. The gate earrings are a metaphor, yes, but also an invitation to step into a new space.
High jewellery has always fascinated me, and this collection represents MISHO crossing a new threshold – refining our voice while staying true to our sculptural DNA.
Looking ahead, do you see high jewellery becoming a larger part of MISHO’s journey, or was JAIPUR a singular love letter to the city and moment?
JAIPUR was born from a very specific moment and emotion, but it opened a new path for MISHO. I don’t see high jewellery as separate from our core ethos – it’s simply another medium through which we tell stories and push design. There’s definitely more to come!
The challenge and joy now is to continue redefining what high jewellery can look and feel like, and to bring that same spirit of innovation and emotion into future collections.
Your designs are often described as sculptural and minimal. How has your background in fine art influenced your aesthetic?
My foundation in fine art has always been central to how I design. It trained me to observe the world differently, to appreciate negative space, shadow, texture. Sculpture, in particular, taught me to distil ideas into form.
I think of MISHO pieces almost like wearable architecture – quiet yet bold, each curve intentional.
Inspiration finds me in unexpected places: the lines of a building, the fall of light, the language of everyday objects reimagined through a sculptural lens.
Our first foray into high jewellery, JAIPUR, was born from one such moment – a midnight walk through the City Palace. That’s why I call it ‘a piece of Jaipur, reimagined.’
MISHO has gained global recognition, with celebrities like Zendaya and Beyoncé wearing your pieces. How do you balance creating art with designing commercially successful jewellery?
It’s always been important to me that MISHO pieces are both wearable and expressive. I think of them as little sculptures you live your life in. When you stay rooted in your design language and create with clarity and intention, the commercial aspect tends to follow naturally. It’s never been about chasing trends – instead, we focus on crafting pieces that resonate emotionally and aesthetically, pieces that feel intimate and personal.
The iconic MISHO ear cuffs and modular designs have redefined how jewellery is worn. What role does innovation and functionality play in your creative process?
Innovation and functionality are integral to how I think about jewellery. I’m constantly thinking about how jewellery can not only adorn but also adapt to the way we live today.
The Pebble Pods, which let you wear your AirPods comfortably and elegantly, were born from that very thought. It’s not just about creating something beautiful, but about rethinking how jewellery interacts with the body, technology, and daily life. I love designing pieces that feel sculptural, but also smart and intuitive – jewellery that works with you.
As a young Indian woman leading a globally known brand, what challenges have you faced in the fashion industry, and how have they shaped your approach to leadership and design?
There was definitely some self-doubt in the beginning. I wasn’t sure if people would be open to experimenting with jewellery that was as sculptural and bold as what I envisioned; but the response was incredible, and that gave me confidence.
The jewellery and fashion industries are already so populated, but I found strength in staying true to my voice.
Building MISHO has taught me a lot, especially about leadership. As a founder and designer, you’re constantly shifting roles, but I’ve learned that creative leadership is about clarity of vision and the ability to empower those around you. Listening, evolving, and trusting the team has been essential.