This is not the polki from your mother’s locker

If you close your eyes and think of polki, or uncut diamonds, the first thing that comes to mind will probably be a bride or a Mughal royal from the history books decked in layers of diamond polki necklaces, jhumkas, kadas, and a maang tikka thrown in for good measure. But that image is getting a revamp. In the hands of a fair few jewellery designers, the fuss of polki is being stripped away so that the stone breathes. The result is almost featherlight, quietly luxurious, and surprisingly cool polki jewellery.

And the shift isn’t just aesthetic, it’s philosophical. By peeling back the layers of ornamentation and focusing instead on the raw, organic beauty of the stones, new-age polki jewellery is still holding all the cultural weight of its heritage, yet feeling effortless, wearable, and completely at home with a crisp white shirt or layered over a gauzy lemon-yellow dress (think Sonam Kapoor Ahuja at the Business of Fashion Mumbai Gala).

Having only ever seen them set in traditional kundan pieces, where the diamonds are framed by gold, Aditi Ghiya, founder of Jaipur-based jewellery brand Adi Handmade, wondered: “Why hadn’t I seen polki being used in their raw and natural form in jewellery yet?” That spark of curiosity became her design philosophy, and Ghiya began experimenting with polki inlay techniques, embedding fragile diamonds directly into carved gold structures using tiny hammers. “The stones become one with the overall structure of the piece, giving it a wonderfully clean and organic feeling,” the designer explains. “It also lends a smoothness to the entire form, which sits beautifully on the skin.” In the end, it’s that clear glass-like quality of Ghiya’s work with polki that makes the pieces feel utterly modern. Take, for example, her Mini Saint ring, the Amulet ring, and the Talisman inlay ring, all of which tap into this mood—unfussy, refined, and quietly intricate.

What’s changed isn’t just how polki looks, but also how people want to wear it. These jewels are designed to be lived in, to fit into the rhythm of our lives. “Our pieces can be stacked or worn together as well as mixed with other designs,” she notes. “The idea is not for it to fit a category. What is jewellery for a special occasion for one, can be everyday jewellery for another.”

At Sunita Shekhawat Jaipur, a brand known for its work reviving kundan jewellery, creative director Sunita Shekhawat is tracking a distinct shift in what brides are gravitating towards—a cohort that makes up the largest chunk of the brand’s clients. “Brides no longer seek heavy, one-time-use pieces,” she explains. “Instead, they prefer designs that are wearable and versatile, allowing them to be used even after the wedding.” Her answer is clever construction. “We’ve been creating reversible pieces that can truly be worn on both sides. We’re also designing detachable pieces that can be transformed into smaller, more wearable designs after the occasion.”

Rather than abandoning ornamentation altogether, Shekhawat is softening it through her experiments with softer pastel enamel work, unconventional placements, and subtle meenakari details that enhance rather than overpower the polki. “Innovations like open settings, dynamic stone cuts, and fluid, lightweight silhouettes are redefining traditional grandeur.” The result is a hybrid aesthetic—heritage with a whisper of modernity. Her Ottoman collection, inspired by her travels through Turkey, exemplifies this shift. It captures the role of polki in the future—in the form of a ring where the green enameling comes in geometric lines unlike the typical heavy-handed meenakari flourishes. The polki comes set in flowers, which, in their current version, would certainly be groundbreaking for spring.

Even legacy labels like Raniwala 1881, long associated with traditional bridal sets, are embracing this direction. “As jewellers from Rajasthan, the heartland of polki, we have inherited and perfected this art over 140 years,” says Abhishek Raniwala, co-founder and creative director of the brand. In several collections, the meenakari has been stripped back entirely, allowing the stones to take centre stage. “One of our most exciting explorations is open-setting polki,” he explains. In this technique, uncut diamonds are held with minimal metal interference, allowing for maximum light reflection and a more delicate, ethereal aesthetic. “This approach modernises traditional polki, making it more versatile for a new generation of wearers.” Their sub-brand, Polki Stories by Raniwala, leans into this aesthetic—minimalist, stone-forward, and architectural in tone.

In short: polki is no longer just for the bridal trunk. It’s being restyled, rethought, and reclaimed by a generation that wants their jewellery to be intimate and adaptable. What’s changed isn’t only how polki looks, but how it lives—with the wearer, and in the world.