“I would say my journey so far has been exciting, adventurous, and full of learning. It had its highs and lows, but every time I was low, I rose again stronger,” says jewellery designer Farah Khan Ali. Over the past two decades, Farah has carved out her own space in the world of fine jewellery, redefining what it means to design with soul with her two brands — Farah Khan Fine Jewellery and Farah Khan Atelier.
Last week, we caught up with her in Chennai, where she showcased her contemporary collections — Miracle, Aayat, Amaira, Gemspire, and Sca-Ra — each inspired by geometry and symbolism.
“At 22, I had no intention of being a jewellery designer, but I was extremely artistic as a child. So, when a friend suggested we take a course together, I thought it was an artistic course, but it turned out to be gemology — a scientific study of gemstones, minerals, and their properties,” she recalls.
After completing her gemology course, she enrolled for jewellery designing. “I fell in love with it because it came so naturally to me; creating beautiful pieces of jewellery from nothing, just your imagination made me feel on top of the world.” Starting her career in 1993, she began interning with established jewellers, like Tribhovandas Bhimji Zaveri, Anmol Jewellers, Mahesh Notandass, and AKM Mehrasons Jewellers.
“I realised, at that point, the concept of a jewellery designer did not exist. People were mainly working with babus and in-house designers, and because I came from a family that has been associated with Bollywood, there was curiosity — why wasn’t I acting? In a way, I glamorised the profession. For me, jewellery became not just a product, it became a piece of art because I was making things that were going to outlive their wearer and go down generations,” Farah shares.
For Farah, her collections draw heavily from Nature, spirituality and storytelling. “With the Miracle collection, I wanted to remind people that it is a miracle to be alive. When I created the collection, I put my monogram Aayat, which means miracle in Urdu, into the pieces as a reminder of divinity within and around us. With my Nature’s Nectar collection, I drew from bees, butterflies, and flowers — celebrating God’s unmatched design.”
In the Indian jewellery market, which is deeply rooted in traditions, Farah spoke on how she has created a universal design language. “I choose motifs that are close to Indian heritage, but pair them with a Western colour palette because I want to create a universal design that can be worn in India and abroad, and goes with a sari or gown.”
“Today’s clients are design-driven and knowledgeable. They are experimental, adventurous, and willing to pay for something unique. Jewellery has shifted from religious motifs to lifestyle expressions — affirmations of gratitude, spirituality, and individuality. There is a market that wants luxury, and it wants statement pieces that nobody else can get,” she adds.
Though her brand shines today, the road to it was not easy. “People thought that I was getting it easy, but the trade is very guarded. Early on, various people stole my designs, made copies of them, and even took me to court, prevented me from using my own brand name.”
“I was in a litigation that lasted for six months, but those six months were the best thing ever happened to me because I learned business, law, trademarks — everything. Today, I can read a legal document like a book of fiction,” she says.
Farah also touched on the debate around real versus lab-grown diamonds. “Anything made by man cannot be real,” she says. “A diamond that takes millions of years to form in the Earth’s crust is rare, and it is the rarity that gives the value. As far as the sustainability of man-made diamonds is concerned, the truth is that they use more energy in the lab than Nature does in the process…mining is far more sustainable than it once was, and it supports entire communities and even wildlife conservation.”
Published – September 12, 2025 04:06 pm IST
