The Hindu (Thiruvananthapuram)
Nature, architecture and the divine are important inspirations in Hanut Singh’s designs, imparting a talismanic quality to them
Hanut Singh, 52, is just back from a trip to Fatehpur Sikri and Agra. “I can’t even begin to tell you how moved I was,” says the jewellery designer. “Even though I’ve been there many times, it feeds my soul. There’s such a strong feeling of déjà vu.” This resonance with the architecture of the period, its beauty and symmetry reflect in his designs.
I first met Hanut in 2005, before he became the darling of international and Indian elite, as a guest of his uncle Martand ‘Mapu’ Singh at the grand reopening of the Chowmahalla Palace in Hyderabad. The cultural icon and textile revivalist — whose aesthetic eye fuelled many of India’s important diplomatic heritage missions — had an incredibly deep knowledge of gems and jewellery. And he spoke often of his nephew, who shared his love of jewels and inherited his sense of refinement.
“I was obsessed with stones and jewellery since I was like four or five years old,” says Hanut, who hails from the famous first family of Kapurthala in Punjab. The jeweller in him was born early, with everyone from his greatgrandfather Maharaja
Jagatjit Singh to his beautiful grandmother Sita Devi and his mother, the vivacious Nina Singh, discussing and acquiring jewels from Cartier, Mainbocher, and Schiaparelli.
Enduring talismans
As a designer, Hanut draws inspiration from many sources: historic architecture, travel memories, his royal lineage, his love of nature, and an undeniable connection to the divine. By the time I met him at a royal Udaipur wedding nine years later, in 2014, his love of architecture had translated into crisp linear proportions in his jewels. I remember his sister Devaki wearing a pair of his diamond, emerald and white topaz drop earrings to an event and drawing admiring glances. Partial to the Art Deco and Mughal periods, his mobile earrings, pendants and rings can be spotted at the world’s most chic gatherings and fashion photoshoots. His talismans
A Tiwa woman cooks vegetables in Assam’s Karbi Anglong district; and 19th century botanical artworks.
As a chef dedicated to unearthing the roots of our culinary heritage, my journey across India in the past decade has been humbling. The most cherished lessons have come not from bustling markets or home kitchens, but from interactions with various Adivasi communities and understanding their unique relationship with the land. From broiling wild crab on an open fire with the Angami tribe in Nagaland to tasting fermented fish chutney with the Mishing tribe in Majuli, each encounter has been a revelation.
These experiences also went beyond the discovery of ingredients. I was learning to substitute salt with banana stem ash from the Apatani tribes in Arunachal Pradesh, or discovering the use of queen sago flour and shatavari among Kerala’s Kadar and Malayar tribes. They revealed the deep connection these communities have with their environment, something that’s often overlooked in mainstream culinary narratives. already have a cult following. The dagger pendants, for example, are popular with every age group from Isha Ambani Piramal to Sharon Stone.
“There are so many levels to my process, but often I see a stone and I know what I am going to do with it. Exactly. And very quickly,” he says. “Then again, sometimes I love an idea or a motif and then I find stones to work with it in a manner, like the movement of a leaf.”
Perfecting his craft
Interestingly, he does not have a store. “I don’t want to be tied down to a shop,” he laughs, adding that he is lucky he has fantastic representatives — not just in India, but in cities such as New York (Fred Leighton) and Los Angeles (Roseark). In fact, he knows where every single piece goes and who owns it, remarkable in a career that spans two decades.
However, behind the selftaught designer’s confidence is a lot of hard work. Early in his career, for nearly 15 years, he travelled extensively to international fairs around the
Tapping wild knowledge
world, to learn and search for unique stones (incidentally, rock crystals, with its professed grounding properties, dot his home). He also painstakingly built his own network of associates that now support his business.
While he meticulously maintains an archive to share with the world one day, for now he feels he is too much of a
“newbie”. Perhaps it is this conscious humility that makes him successful.
The writer is the founder-director of Eka Archiving Services.
This connection to nature and traditional knowledge was echoed during my visit to the archives of the Sarmaya Arts Foundation. Amidst the pages of rare 19thcentury books, I encountered botanical artwork that illustrated a different aspect of
India’s natural heritage. The British fascination, as captured in works such as Robert Wight’s Indian Botany and Flowers of the Bombay
“Freedom is essential to my soul. It is vital for creativity, to move, live and soar. I have tattooed ‘Freedom of my soul’ on my forearm. This piece, with its soaring angel wings and triangular cusps topped with red rubies provide a perfect foil for two perfectly matched pendant pearls. It balances luxury, freedom and movement.”
Presidency, melded curiosity with conquest, meticulously documenting the country’s rich flora.
Yet, most of them overlooked the critical contributions of Indian illustrators. They were uncredited, except in rare cases such as Nathaniel Wallich’s Plantae Asiaticae Rariores, an 1830 compendium of plants from eastern India that credits three local artists: Vishnupersaud,
Gorachand and Rungaiah. This discovery resonated with me. As a chef, I have always valued the unseen hands behind our food — the farmers, foragers, and artisans. And seeing these artists acknowledged reminded me of the countless unnamed contributors in our culinary world.
The modern fascination with ‘wild foods’ among chefs and food enthusiasts mirrors this colonial
Singh’s signature dagger and sword pendants are perhaps the most iconic of his jewellery. Leaning into his royal lineage, he sees them as protective talismans. They are bejewelled and suffused with detail. He says, “They just sell. But I do realise that people like them because they represent chic, classy and cool. They are worn by women with spirit and personal style.”
“Marvelling at the architecture in Agra, where red sandstone complements intricate pierced
work and pietra dura in marble, I am transported. It’s such a symphony of Rajput and Persian styles.”
A touch of whimsy in oval Italian shell cameos in delicate peach and a stunning two stone open ring reflect his love for the Art Deco period. botanical quest in some ways. The current trend, for instance, often lacks depth as it doesn’t acknowledge the cultural and traditional knowledge associated with these ingredients. Tribal communities are relegated to the shadows.
During the monsoon of 2022, my platform The Locavore, which champions local food movements, along with OOO Farms and a team of 16 volunteers embarked on the Wild Food Project in Palghar, Maharashtra, to document the culinary wisdom of the Kokni tribe. The Wild Food Zine, published in late 2022, highlighted over 24 different wild ingredients offering a glimpse into the tribe’s traditional knowledge and culinary practices. Inspired by this project, we are now planning another zine to further explore these rich food cultures.
Empowering the community
Working with forest communities has been eyeopening. They have coevolved with the flora in their
A multifoil arch cocoons a spray of emerald flowers in this stunning pendant that pays homage to the beauty and symmetry of Mughal architecture. landscapes and possess extensive knowledge: on which plants are edible or medicinal, and how to detoxify them for consumption. Our appreciation and awareness of diverse wild foods can help empower these communities and ensure the conservation of wild plants. But it requires prioritising their wellbeing.
Through my travels, I’ve seen how external influences can lead to the overharvesting of resources, like wild honey in the Himalayan belt and wild mushrooms in Goa. In these regions, the communities’ voices and concerns are often overshadowed by external commercial interests. This imbalance has led to a worrying trend where the sustainable practices are ignored in favour of more lucrative harvesting methods.
Yet, it is within these same communities that sustainable harvesting continues to thrive. This situation highlights a crucial point: that the insights and solutions we need today are often hidden in plain sight, deeply embedded within indigenous food cultures. As culinary professionals, we must create narratives that go beyond the ingredient and tell the stories of the Angami, the Mishing, the Apatani, and the countless other Indian tribes. Our duty extends beyond mere creation.
The writer and chef is founder
of The Locavore.
The third in a series of columns by sarmaya.in, a digital archive of India’s diverse histories and artistic traditions.