The vault: Madyha Farooqui

The notable designer behind The Gem Suite, talks to us about the special pieces in her vault

The notable designer behind the international fine jewellery label, The Gem Suite, talks to us about the special pieces in her vault, giving us lesson on vintage craftsmanship along the way

How did your interest in jewellery begin?

From a very young age, I was fascinated by my mother’s jewellery collection. When she would get ready, I would sit close to the jewellery cases, to take in the various antique and heirloom pieces. These seemed otherworldly to me, especially the ones crafted in Pakistan, as we were raised in New York City and everything here was so streamlined and understated. As I grew older, I had already begun to claim my favourites. In the early 2000’s, while serving as a fashion editor at Cosmopolitan magazine, I covered Parisian and American designers, and it was the jewellery and accessories, that always struck a cord within me. Later, when I had my design consultancy, I began interacting more with the supply, production and design side of jewellery. In 2009 I travelled to Jaipur and got to know the best gem dealers and setters. By 2012, when I launched my eponymous jewellery label, I was intimately acquainted with the best diamond sources in New York, manufacturers in Hong Kong, and continued my relationship with Rajistani suppliers. I still work with all of the same people, as those relationships have been invaluable to my business.

What are your favourite pieces of jewellery?

I don’t have a single favourite item, there are various pieces that are meaningful to me. I inherited a pair of 24-karat gold, intricately hand carved, floral cuffs, which are set with uncut diamonds. They came to my mother, from my great-great grand phupo. She was a grand lady of her time. Her husband was the physician to the royal court — and on some occasion they gifted her Indo-Victorian style cuffs, with her initials etched into shield, in perfect gothic lettering. They are an example of exquisite craftsmanship, and when I wear them, I can feel ancestral energy close to me. From more recent decades, I have this stunning, 22-karat Colombian emerald, which I have set classically with diamonds all around. This originally was a business investment, but I fell in love with the gemstone — a very frequent occupational hazard. Each gemstone is unique and this one was calling my name. My friends jokingly call it the ‘Colombian boyfriend’ as it’s weighty enough to deserve it’s own seat at the table, as my plus one! In addition to fine jewels, I have a few special costume pieces. This thoughtfully curated collection, consists of everything from; vintage 60’s, all the way through to contemporary 80’s and 90’s YSL, Chanel, even more recent Lanvin, Cavalli and Lara Bohnic. That said, I acquire designed objects, for their aesthetic charm and not because of specific branding — unless of course there’s historic, cultural or academic relevance.



Is there anything on your radar that you want to get in the future?

As a fine jewellery designer, gemstones and gem parcels are always on my radar, more so than finished pieces. I can never buy enough opals or emeralds! In finished jewellery, I’ve actively been on the look out for a specific pair of pearl and diamond ear clips from the 1960’s, by Jean Schlumberger for Tiffany & Co as well as a very rare Van Cleef & Arpels gold and sapphire bracelet from the 1930’s. However, these items don’t come to the market often, but that too is just as it ought to be, as I believe jewellery has a higher energy and therefore you always get the pieces that are meant to live with you, be loved by you and be worn by you.