Forty years into their design journey, Abu Jani Sandeep Khosla are entering a new category. The couture house has unveiled Iconic Jewels by Abu Jani Sandeep Khosla, its first-ever jewellery collection, translating the duo’s maximalist design language into a series of high-impact jewels.
For the campaign, the house has turned to Dimple Kapadia, a longtime friend, client and muse. Her relationship with Abu and Sandeep dates back to the early years of their careers, when she was among the first clients of their debut boutique, Mata Hari. Decades later, her presence in their inaugural jewellery campaign brings that shared history full circle.
Photographed wearing pieces from the Abad, Roshnai, Talismati and Junoon ranges, Kapadia embodies the glamour and individuality that underpin the collection.
Rather than treating jewellery as an extension of clothing, the collection approaches each piece as an expression of the house’s broader artistic vocabulary. Its four key families draw from Indian craft, symbolism, mythology and the natural world.
Abad takes its cue from the geometric richness of Patola embroidery. The designs combine 18-karat gold with Zambian emeralds, Mozambique rubies and multicoloured sapphires, recreating the visual rhythm of textile motifs through gemstones.
Roshnai looks to the delicate craftsmanship of Chikankari. Diamonds and pearls come together in intricate Mughal-influenced forms, balancing softness with the ornate detailing associated with the AJSK aesthetic.
The more symbolic Rudra and Taweez collections explore spirituality and protection. Featuring diamonds, rubies and gold, the pieces draw from imagery such as Shiva’s eye and the traditional Taweez amulet, giving the jewellery a sense of meaning beyond ornamentation.
With Junoon, the house turns to the dragon as a symbol of passion and inner strength. Emeralds and rubies form intricate scale-like patterns, resulting in pieces that are dramatic, sculptural and unapologetically expressive.
Together, the collections bring together the craftsmanship, symbolism and visual excess that have long defined the AJSK universe.
For Kapadia, the campaign represents more than a new association with jewellery. Her connection with the designers has evolved alongside their careers, from modelling their first Chikankari collection in 1993 to becoming the face of their jewellery debut in 2026.
Speaking about the collection, Abu and Sandeep describe jewellery as another form of personal expression, much like couture. For the designers, the aim was to create pieces with longevity, while Kapadia’s longstanding relationship with the house made her an instinctive choice for the campaign.
Kapadia, herself a jewellery collector, also points to the craftsmanship behind the collection, drawing a parallel between the detailing of the jewels and the uncompromising workmanship of the house’s couture.
The collection is being presented at the jewellery vault within Mubarak Baug, the AJSK flagship in South Mumbai.
The space has been designed as an extension of the jewellery itself. Its architecture takes the form of a diamond, topped with detailed lotus motifs that introduce the house’s signature floral language into the space.
The geometric structure also draws a direct connection to the precision of gem-cutting. Sharp angles, light and symmetry become part of the experience, creating a setting designed to complement rather than compete with the jewels.
For Sandeep, working with Kapadia once again was less a conventional campaign exercise and more a continuation of a longstanding friendship. The resulting imagery brings together the house’s couture heritage, its new jewellery chapter and a muse who has been part of its story for decades.