Founder Rahul Jhaveri’s jewelry exhibition ‘Seeing the Unseen’ kickstarts a conversation approximately the emotional effect of the brilliant baubles Rahul Jhaveri’s Studio Renn introduced its entry into the jewelry international with a bold and wildly innovative exhibition in Mumbai. “Seeing the Unseen” changed into no longer best an experiential showcase of the jewelry emblem’s debut series but also an immersion into the studio’s unusual and deeply emotional design philosophy. Comprising artists who had no prior know-how of jewelry design and jewelry designers who weren’t always artists, Studio Renn commenced as a test instead of a logo with a right away commercial goal.
The manifestation of an Organic Idea
“I didn’t realize any other manner of doing it,” admits Rahul, “aside from developing surroundings wherein there’s a change of thoughts.” The studio didn’t start with the aim of making jewelry—it just befell to be the shape in which Studio Renn manifested its ideas. “It becomes very natural,” Rahul offers. “I assume it’s in that environment, whilst you don’t recognize what to expect, otherwise you don’t realize in which you’re going, that you can certainly think out of doors the container.”
For the launch of the logo—about 12 months after its inception—Rahul roped in curator Divya Thakur with the concept of setting an experiential exhibition collectively. Titled “Seeing the Unseen,” the exhibition ran per week at Mumbai’s Gallery Maskara. Now not handiest supplied audiences a glimpse of Studio Renn’s particular jewelry pieces; however, it also added to the emblem’s robust center values.
Playing Hide and Seek with Design
“Rahul’s technique to emblem-building could be very organic,” explains Divya. “There turned into several hiding and in search of in what he changed into designing, which I become interested in because we stay in a time of display and tell. Here changed into anyone who changed into feeling his jewelry lots greater than he turned into simply making it.” The Studio’s experimental, experiential, emotion-centric method proved to be a strong start line for the exhibition’s scenography; it supplied Divya with several layers to paintings with.
The format of the exhibition commenced with a series of experiential cocoons: small round areas enclosed by translucent polycarbonate glass shells. Each area changed into committed to a distinct jewelry collection. The outside walls of the shell featured artwork that changed into inspired via the gathering. At the same time, the interior was printed with a foreign-language phrase and accompanying explanatory phrase that presented perception into the gathering’s layout philosophy.
The 2nd section of the layout supplied shows instances on a raised platform, set towards an MDF backdrop laser-cut with a decade of the Studio Renn logo. “It plays very well with the visible and unseen subject matter, graphically,” Divya muses. “You don’t see it… and you then see it.”
A Counterpoint to the Display
Divya invited milliner Shilpa Chavan to create awesome props for every show to provide a counter-factor to the jewelry. The props have been all black in order now not to crush the display or detract interest from the jewelry—however, they were equally captivating in their own proper. For example, a pair of diamond-encrusted rings—in which the diamonds had been set upside down that allows you to create a more lustrous texture—were positioned in the attention socket of a huge black skull. The skull changed into an homage to Alexander McQueen but additionally served as a manifestation of the concept of inversion or “brilliance from the underside” that the earring design became based on.
Emotional Effects of Jewellery
In an international wherein jewelry often seems like no more than an accent to praise an outfit or funding for stowing away in a secure, Rahul invites humans to reconnect with it emotionally. “Seeing the Unseen” was the simplest step in beginning a communique about how a piece of jewelry is tons greater than an object; it’s far a layered, complex revel in.