Meghna Biswas, the Dubai-based Founder of Zome, brings an architect’s precision to jewellery that is sculptural and expressive. Trained as an architect, she is drawn to extraordinary gemstones. To Meghna, every gemstone is a receptacle of history, light and emotion, its character shaped over millions of years. Her one-off creations are designed to honour that individuality, allowing each stone to remain the focal point while transforming it into a contemporary work of wearable art.
Her fascination with exceptional jewellery extends beyond her own atelier. Over the years, Meghna has built a collection of rare vintage jewels sourced from destinations as diverse as the Netherlands, Japan, Singapore and Paris. Presented as Vintage Reliques, the capsule collection brings together pieces whose histories continue to resonate with a new generation of collectors.
As an architect-turned-jewellery designer, how has your training in form, proportion and spatial design influenced your approach to jewellery creation?
Architecture shaped the way I see the world. I spent almost two decades designing luxury hospitality projects across the Middle East, and the experience taught me that superior design is never merely about aesthetics — it’s about emotion, scale, proportion and the way people experience a space. I approach jewellery in the same way.
Designing spaces and designing jewellery are not as different as people imagine.
I believe that jewellery is wearable architecture. A ring or a pair of earrings may be small in scale, but they are still compositions of volume, balance, rhythm and light. I think about how a piece feels from every angle, how the eye travels across it and how it sits on the body. My training taught me to appreciate restraint and proportion, and perhaps that is why my designs often have a sculptural quality to them.
Zome is known for its one-of-a-kind sculptural pieces featuring exceptional, large-scale gemstones. What draws you to these statement stones?
I’ve always been fascinated by gems that possess personality. Large gemstones have a presence that I find incredibly compelling. They are unapologetic, and I love that.
The stone always leads the conversation. I spend time observing the nuances of its colour, the inclusions, the cut, the way light moves within it. Some stones feel bold and dramatic, while others feel soft and romantic. I allow that character to dictate the architecture around it.
I think of myself less as imposing a design and more as revealing what the stone wishes to become.
For you, every gemstone as a universe in itself. Please elaborate.
Nature has spent millions of years creating these extraordinary treasures. Every gemstone contains landscapes, colours and subtleties that no human hand could ever replicate.
I have never been drawn to perfection in the conventional sense. Inclusions, silk and internal textures often make a gemstone infinitely more beautiful because they tell a story. My role as a designer is not to overpower that beauty but to honour it.
Perhaps that philosophy is also why so much of my work is one of a kind. I believe beauty lies in individuality, and I think collectors today appreciate that uniqueness more than ever.
Colour is central to your work. What are some of the gemstones or colour combinations that currently inspire you the most?
Colour has always been my language. Long before jewellery, I spent years working with materials, textures and palettes in interior design, and that experience has permanently shaped the way I see gemstones.
When you spend years creating spaces, you become deeply aware of how colour affects mood and emotion. I think of gemstone combinations the same way I would compose a room. I layer colours, textures and saturation levels to create harmony and contrast.
Currently, I find myself gravitating towards combinations such as verdant greens with deep pinks, teal sapphires paired with lavender tones, vibrant spinels, tsavorites and amethysts.
I am endlessly inspired by tourmalines because they almost seem painted by nature itself.
I don’t think in terms of trends. Colour should feel joyful. Some of my favourite palettes have been inspired by sunsets, antique textiles, old frescoes and interiors encountered throughout my travels.
You have sourced rare vintage jewellery from various destinations for your Vintage Reliques capsule. What do you look for when selecting a piece?
I’ve always had a deep appreciation for history and craftsmanship, and Vintage Reliques was born from that love.
When sourcing a piece, I look for soul. I am drawn to jewels that speak of a particular era and highlight techniques and craftsmanship that are increasingly rare today. But more than anything, I love imagining the lives these pieces have lived — the women who wore them, the milestones they celebrated and the stories they silently witnessed.
Interestingly, working on Reliques has also influenced my own design language in unexpected ways. Immersing myself in Victorian, Edwardian and Art Deco jewellery has made me aware of the extraordinary detailing and proportions of those eras. I find myself naturally incorporating subtle Art Deco geometry, Edwardian delicacy or vintage-inspired milgrain and engraving into my bespoke work.
In many ways, the old masters continue to inspire us.
Collectors today are seeking jewellery that reflects individuality and personal expression. How does Zome cater to this growing desire?
Luxury today is no longer about owning what everyone else owns; it’s about owning a piece that feels deeply personal. That’s central to Zome’s philosophy.
I find immense joy in collaborating closely with clients to bring their visions to life. Sometimes it begins with an inherited gemstone, sometimes with a memory, a favourite colour, or a feeling they wish to capture.
Those conversations are special because jewellery becomes more than just an object. It becomes an expression of identity, a memory or a future heirloom. I believe that emotional connection is the greatest luxury of all.
How do you see the conversation around collectible jewellery evolving?
Collectors are increasingly seeking rarity, provenance and artistry rather than simply size or brand recognition.
Vintage jewellery and estate treasures will continue to gain importance because they represent a level of artistry and hand craftsmanship that is becoming increasingly scarce.
More importantly, jewellery is beginning to occupy a space somewhere between art and adornment. People are building collections with intention and curating pieces that reflect their personalities and passions. That shift is incredibly exciting.
How would you describe your eclectic professional journey so far?
One of the most rewarding aspects of my journey has been the relationships I’ve built with my clientele. Over the past year, I have found myself creating highly bespoke pieces and curating personal collections for clients who appreciate artistry, rarity and individuality.
Every client comes with their own stories and desires, and I find immense joy in translating those into something tangible and personal. There is something incredibly special about bringing someone’s vision to life and knowing that the piece we create together may one day become part of their family’s story.
After nearly two decades in the world of luxury design, I still find that sense of wonder deeply fulfilling. Whether through a one-off creation, a vintage treasure from Reliques or a bespoke commission, my aim is to create miniature works of art that will be cherished for generations to come.