Munnu Kasliwal (1955 to 2009) was the sixth-generation principal of the Gem Palace of Jaipur, the Indian high jewellery house founded in 1852 and historically associated with the patronage of Indian princely courts and, in the late nineteenth and twentieth centuries, with international clientele. Munnu's particular contribution was the international expansion of the firm and the establishment of the Gem Palace's reputation as the leading contemporary house in the Mughal-Rajput jewellery tradition. Working from the firm's Jaipur base and from a New York atelier opened in the 1990s, Munnu created pieces that combined the traditional Indian techniques (kundan setting, jadau, meenakari enamelling, carved gemstones) with contemporary design sensibility, often featuring exceptional Burmese rubies, Kashmir sapphires, Colombian emeralds, and Golconda-tradition diamonds.

Family background and the Gem Palace

The Gem Palace was founded in Jaipur in 1852 by Pannalal Kasliwal, an ancestor of the Kasliwal family that has continued to operate the firm through six generations into the present day. The firm developed in the late nineteenth century as one of the principal jewellery houses serving the Rajput princely courts and the broader Indian aristocracy, with notable commissions for the maharajas of Jaipur, Indore, Patiala, and other princely states. The integration of the firm's work with the broader Mughal-Rajput jewellery tradition of Jaipur — the meenakari enamel work, the kundan setting, the integration of carved Mughal-period gemstones — established the Gem Palace as one of the principal repositories of the Indian high jewellery tradition.

The firm's international engagement developed through the late nineteenth and twentieth centuries, with the founding of foreign relationships supporting the gradual expansion beyond the Indian princely market. By the time Munnu took on the principal role in the firm in the 1980s, the Gem Palace was already established as one of the leading Indian high jewellery houses with significant international recognition.

The international expansion

Munnu's particular contribution was the systematic international expansion of the firm and the establishment of its reputation in the global high jewellery market. The Gem Palace opened a New York atelier in the 1990s, providing direct access to the American luxury market and supporting commissions from American collectors and society figures. The firm developed relationships with international interior designers, decorators, and tastemakers who introduced the Gem Palace work to a broader international clientele. The pieces produced under Munnu's direction during this period — combining traditional Indian techniques with contemporary design sensibility — became identifiable as a distinctive contemporary expression of the Mughal-Rajput tradition that had defined the firm for generations.

The firm's international clientele during Munnu's leadership included figures from the international art and design world, members of European and Middle Eastern royal families, and substantial American collectors of Indian jewellery and decorative arts. The combination of the firm's traditional craftsmanship and the contemporary design direction supported a substantial expansion of the firm's international business through the 1990s and 2000s.

The work itself

Munnu's pieces are characterised by the integration of traditional Indian techniques with contemporary design sensibility. The traditional techniques include kundan setting (the gold foil technique that allows stones of irregular shape to be set without seat preparation), jadau (the broader category of Mughal gem-setting work that combines kundan with multiple stones in floral or geometric patterns), meenakari enamelling (the Indian painted enamel tradition with detailed floral and animal motifs), and the integration of Mughal-period carved gemstones (particularly carved emeralds from the historical Indian collections that the firm had access to through its established relationships).

The contemporary design direction integrated these traditional techniques with simplified forms, more architectural compositions, and broader colour palettes than typical of historical Mughal-Rajput work. The pieces were designed to function in contemporary international wear contexts while retaining the unmistakable character of the Indian tradition. The integration was not without controversy in some traditional circles, but the international market response confirmed the success of the approach in extending the relevance of the Indian tradition into contemporary applications.

The exceptional gemstones

Munnu's work was distinguished by the consistent use of exceptional gemstones, drawing on the Gem Palace's traditional sourcing relationships and Munnu's personal expertise in identifying important stones. Burmese rubies in fine quality, Kashmir sapphires from the historic mid-twentieth-century supply, Colombian emeralds (both modern production and historic Mughal carved stones), and Golconda-tradition diamonds appear regularly in the firm's pieces from the period of Munnu's leadership. The combination of important stones with the high-quality traditional craftsmanship produced pieces that competed effectively with the work of the leading European high jewellery houses while maintaining a distinctly Indian character.

The legacy and the contemporary firm

Munnu's death in 2009 at the age of 54 was a significant loss to the international high jewellery world. The Gem Palace continued under the leadership of his brother Sanjay Kasliwal and the next generation of the family, with the international relationships and reputation established under Munnu's leadership supporting the firm's continued operation. A separate brand bearing Munnu's name — Munnu — was developed to extend the legacy through pieces in the spirit of his work, providing a distinct identity within the broader Gem Palace family of operations.

The Gem Palace and the Munnu brand remain among the most recognised Indian high jewellery names in the international market, with continued strong relationships with international clientele and ongoing commissions for important pieces. The combination of the firm's six-generation tradition, the established international reputation, and the continuing access to fine gemstones supports the firm's position at the apex of the contemporary Indian high jewellery trade.

Reception and the broader influence

Munnu's work has been the subject of substantial international press attention, with profiles in major design publications and inclusion in major exhibitions of contemporary Indian and high jewellery work. Pieces by the firm appear in private collections worldwide and have been featured at major auction houses, with prices reflecting both the quality of the materials and the recognition of the firm's contemporary position. The broader influence on international engagement with Indian high jewellery has been substantial, with Munnu's leadership establishing a model for the contemporary expression of the tradition that other Indian houses have followed.

In the trade

For Skyjems and the broader trade, the Gem Palace and the Munnu legacy represent the apex of contemporary Indian high jewellery and an important reference point for the broader engagement with the Mughal-Rajput tradition. The firm's continuing operations support an ongoing supply of pieces in the tradition, with prices commensurate with the quality of materials and craftsmanship. Understanding Munnu's contribution to the international expansion of Indian high jewellery is essential context for any serious engagement with the contemporary Indian high jewellery market.

Further reading

• Gem Palace Jaipur — institutional homepage
• Victoria and Albert Museum — Treasures of the Mughals
• Metropolitan Museum of Art — Indian jewellery