Pratik Shah, Co-Founder & Creative Head of the high-end jewellery brand Estaa, thrives on a steep learning curve through constant innovation—whether experimenting with 3D techniques at Bharat Ratnam – Mega CFC in SEEPZ, Mumbai, or incorporating understated materials—unlikely options included in the high-end jewellery segment.
Known for crafting one-of-a-kind gold collections, Shah often looks beyond gold—experimenting with different metals to broaden the versatility of his precious designs. His recent couture jewellery lines crafted in titanium and silver, accented with diamonds, gemstones, and texture finishes, elevate these metals to new heights of sophistication.
In an interview with Solitaire International, Shah shares his perspectives on design, innovation, and the evolving language of luxury.
Why did Estaa opt to create fine jewellery collections around this ‘not-much-touted’ metal. Tell us more about the first collection made in-house. Since how long have you been retailing titanium jewellery?
I am proud to share that Estaa was the first Indian jewellery house to craft fine jewellery in titanium. We began working with the material in 2018 with our inaugural collection, Arya.
Arya is a contemporary interpretation of the goddess Sakti — her strength, her blessings, and offerings made to her.
Titanium’s exceptional quality allowed us to create large, sculptural forms that are remarkably light — a feature highly valued in the Indian market, where visual scale carries significance. Every piece is crafted entirely in-house.
How has demand for titanium jewellery evolved in India in recent years? What types of customers are most drawn to titanium jewellery?
Estaa is fortunate to have clients who are willing to embrace innovation and set new directions. Their early support for us has been instrumental in establishing it as a serious material within our collections. Our clients span a wide age range, from 25 to 75 years old! What connects them is a shared sensibility for truly unique craftsmanship and design originality.
How does the cost of titanium jewellery compare to gold or platinum in terms of both raw material and final retail price?
In terms of raw material, titanium is significantly less expensive than gold or platinum. However, the final retail price reflects the complexity involved in crafting it.
Titanium’s extreme hardness requires specialised equipment, technical expertise, and longer production times compared to traditional metals. As a result, the price difference is not proportional to the cost of raw material, but rather related to the technical difficulty, the precision required, and the rarity of craftsmanship behind each piece.
How do margins on titanium jewellery compare to those on gold or diamond-studded pieces?
Margins on titanium jewellery are significantly lower than those achieved on gold pieces. While the raw material cost of titanium is lower, the technical difficulty of working with it — from special tooling to finishing — increases production costs.
Titanium pieces are bought more for their design and craftsmanship value rather than intrinsic material value, which creates a different pricing dynamic.
How well does titanium hold up to daily wear compared to traditional metals?
Titanium performs exceptionally well under daily wear conditions. It is highly resistant to scratches, corrosion, and tarnish, even in humid or high-contact environments. Compared to gold, which is softer and more prone to surface wear, or silver, which can oxidise, titanium retains its integrity.
What are the specific challenges in designing or crafting jewellery with titanium? Are there limitations on customisation or stone-setting due to titanium’s properties?
Traditional jewellery techniques and standard stone-setting methods are impossible to apply to titanium at the fine jewellery scale. We had to develop our own proprietary systems and tools in-house, tailored specifically to the material. Much of our titanium jewellery is created bespoke, engineered individually to meet the specific design of each piece.
In what ways do you think the Bharat Ratnam – Mega CFC 3D printer could revolutionise jewellery making in the near future? We understand you’ve used it yourself — how would you rate its performance, particularly for working with titanium?
The Mega CFC 3D printer has the potential to significantly advance high jewellery design and prototyping. Its ability to handle complex geometries with exceptional precision enables the creation of intricate forms that are challenging to achieve with traditional methods.
In our work with titanium, we’ve found the printer’s performance impressive, particularly for translating detailed digital models into accurate physical prototypes. It has allowed us to push design boundaries while reducing material waste and production time. While the technology is still evolving, its integration with artisanal processes could shape the future of jewellery making.
Are resale or buyback options available for titanium jewellery given the mindset of Indian customers?
Our clients approach these pieces as objects of jewellery as art rather than commodities for resale. As appreciation for alternative materials grows, secondary market interest will definitely follow as it has in the rest of the world, but today the value lies in ownership and distinction.
Do you see titanium becoming a more mainstream option in Indian jewellery retail?
Titanium will continue to grow in awareness, but it is likely to remain a niche category within the Indian jewellery market. Its appeal lies with a specific kind of collector — someone who values technical innovation, material advancement, and design over traditional notions of intrinsic value.
Are you expanding your titanium jewellery offerings in the coming year?
Yes, we are expanding our titanium collections. New pieces are in development that explore larger forms, more complex engineering, and innovative combinations of titanium with other precious materials. The focus remains on offering unique aesthetic possibilities for clients who seek distinctive, contemporary fine jewellery.
Your ultra-modern silver collection Obscura Vitae – (The Hidden Life) made quite an impression. Could you tell us more about it? What finishes, polishes or enamelling techniques did you use, and what inspired the shift to silver as a medium for high jewellery?
The Obscura Vitae collection represents our most ambitious work in silver to date. This is not our debut with silver, but it is the first time we’ve fully explored the metal’s sculptural potential and emotional depth. The collection focuses on contrasts — between light and shadow, polished and matte, organic and geometric forms.
We employed a range of surface treatments, from mirror-polish to oxidised finishes, alongside selective custom-created hand-applied enamels to enhance the interplay of texture and form. The choice of silver was intentional: it allowed us to experiment with scale and narrative while keeping the pieces accessible.
The creative and production process took approximately three months, encompassing design development, model-making, and hand-finishing. Retail prices for the Obscura Vitae collection range between ₹1 and ₹3 lakh, depending on scale and technical complexity.