Studio Renn Turns Raw Materials into Sculptural Jewelry Masterpieces

Founded in 2018 by Roshni and Rahul Jhaveri, Studio Renn is a Bombay-based jewelry design practice that transcends traditional jewelry by merging fine craftsmanship with the conceptual depth of art, design, and architecture. Rooted in their philosophy of “beautiful imperfection”, the studio transforms unconventional materials—acid-treated concrete, discarded wood, unpolished diamonds—into sculptural, wearable art that challenges norms and invites reflection. Their creations explore themes like transience, protection, and cyclicity, blending raw beauty with emotional resonance.

Studio Renn’s work has been showcased at leading international platforms, including the India Art Fair, PAD London, Sotheby’s Geneva Luxury Week, and Couture Las Vegas. Their exhibitions reimagine how jewelry is experienced, incorporating immersive, innovative elements such as bales of raw cotton and bamboo structures to deepen audience engagement. Their latest collection, [Prime]al, inspired by the poem Eyes Open, explores creation myths and indigenous abstraction, balancing primal instincts with contemporary precision.

Collaboration is central to Studio Renn’s vision. Partnerships with artists like Prashant Salvi, whose sketches informed [An]otherness, and engineers from Case Design, who help craft spatial narratives, expand their storytelling beyond materials into dynamic spaces and ideas.

In this Whitewall interview, Roshni and Rahul discuss their experimental approach, the synergy of their creative and strategic roles, and how Bombay’s energy continues to shape Studio Renn’s journey.

Studio Renn Celebrates the Beauty of Imperfections

WHITEWALL: Studio Renn is celebrated for its philosophy of “beautiful imperfection” and its ability to transform abstract ideas into wearable art. How do you define this philosophy, and how has it evolved since the studio’s inception in 2018?

RAHUL: The concept of “beautiful imperfection” emerged during my early work with goldsmiths who excelled at creating symmetrical, predictably beautiful designs. I wanted to challenge that by embracing asymmetry and imperfections—to find beauty in the unexpected. This became a way to push boundaries and rethink what jewelry could be.

Over the years, this philosophy has deepened through our material explorations. For instance, we let acid-treated concrete react naturally, stepping back as observers. With discarded wood, we also work instinctively, responding to its texture and form. These processes invite chance and imperfection, creating pieces that are raw, evolving, and deeply personal.

“I wanted to challenge that by embracing asymmetry and imperfections—to find beauty in the unexpected,”

—Rahul Jhaveri

ROSHNI: Initially, it was about physical attributes—like leaving casting skins on gold in Puffball or working with rough diamonds. Now, it’s more conceptual. We explore ideas of transformation and the emotional resonance of imperfection. It’s no longer just about the form—it’s about telling stories through these imperfections.

WW: As co-founders, your roles bring together artistic creativity and strategic vision. How do your differing perspectives shape Studio Renn’s identity, and how do you maintain this balance as the studio grows?

RAHUL: Knowing each other since university has given us a deep understanding of how the other thinks. While I focus on the creative aspects, Roshni brings a strategic lens, grounding ideas in practicality. This interplay—where one pushes forward and the other pulls back—ensures a balance between experimentation and practicality. It’s dynamic, and sometimes challenging, but it works.

ROSHNI: In the beginning, when it was just the two of us and a small team, our roles overlapped. As we’ve grown, clearer definitions have allowed us to focus on our strengths. Our team of 25 brings unique perspectives, with designers from diverse backgrounds like architecture, engineering, and fine art. Their voices elevate our practice, treating jewelry as objects that blur boundaries between disciplines.

RAHUL: Beyond our team, we invite collaborators—poets, artists, architect, and spatial designers—into the fold. These dialogues enrich each collection, offering fresh perspectives and expanding our storytelling.

A Jewelry Collection Inspired by Poetry

WW: Your latest collection, [Prime]al, draws inspiration from the poem Eyes Open and explores themes like protection, cyclicity, and creation myths. Could you share how these ideas influenced the collection’s design and the story you hope the pieces tell?

RAHUL: [Prime]al is about returning to roots. The brackets around “prime” reflect the idea of something seminal yet raw. Inspired by indigenous Indian art, I was captivated by how abstraction—a simple line or curve—could convey profound ideas, like divinity or identity. It wasn’t about replicating forms but about embracing abstraction as a language to express themes of creation and cyclicity.

Writing Eyes Open allowed me to articulate these ideas. The poem became a foundation for the collection, capturing years of study and reflection. The pieces in [Prime]al embody this journey, blending primal instincts with contemporary craftsmanship.

WW: Studio Renn’s designs incorporate unconventional materials like concrete, found objects, and acid-treated wood. What drives your material choices, and how do they contribute to your collections’ conceptual depth?

RAHUL: Each material carries a story. Concrete, for instance, represents modernity and transience—it’s essential for building cities yet inherently temporary. By juxtaposing it with gold and diamonds, we create a dialogue between the fleeting and the eternal.

Acid-treated concrete mirrors urban decay, while casting gold around weathered wood elevates the overlooked beauty of discarded materials. These contrasts provoke reflection and challenge conventional notions of value.

ROSHNI: The process is as important as the material itself. Relinquishing control and allowing materials to evolve naturally adds authenticity to our work. Collectors often resonate with the “how” of our pieces as much as the “what.”

“The process is as important as the material itself,”

—Roshni Jhaveri

WW: Collaboration has been pivotal in your practice. How do these partnerships shape your creative journey?

RAHUL: Collaboration fuels innovation. With Prashant Salvi, we explored sensuality in nature, resulting in [An]otherness. His line drawings and our shared studies created a dialogue between art and jewelry. Working with Case Design, we translated the themes of [Prime]al into physical spaces using materials like earth, bamboo, and raw cotton. These immersive environments bring new dimensions to our exhibitions.

ROSHNI: These collaborations challenge us to think beyond jewelry. They shape how our work is experienced, turning exhibitions into multisensory narratives. By engaging with artists and architects, we expand our storytelling and redefine what jewelry can be.

WW: Your jewelry bridges art and design, transforming abstract ideas into sculptural forms. How do you balance avant-garde aesthetics with wearability?

ROSHNI: It’s a collaborative effort. Rahul leads the avant-garde, sculptural vision, while the practicality of wearability is shaped by our team. Many of our designers, with backgrounds in engineering and architecture, bring a unique perspective that helps balance form and function. We also draw on collectors’ insights to ensure our pieces feel deeply personal and resonant.

RAHUL: Risk is essential. Not every avant-garde idea succeeds, but those that do make the journey worthwhile.

ROSHNI: Jewelry is deeply personal. It’s not about dictating meaning but letting each piece form an emotional connection with its wearer—becoming both an artifact and a work of art.

Studio Renn in Bombay

WW: Bombay is vibrant, layered, and deeply rooted in history. How does the city’s energy influence your work, and how do your personal journeys shape Studio Renn’s vision?

RAHUL: Bombay’s pace mirrors our studio’s energy. It’s a hub for creativity in art and design, providing the perfect backdrop for our work. The city’s contrasts—modernity and tradition, chaos and beauty—inform our practice.

ROSHNI: Bombay’s collector base is also forward-thinking and uniquely receptive to our vision. While collectors globally share common threads, the city’s energy adds a layer of engagement that resonates deeply.

RAHUL: On a personal level, our journey began at university, studying business together. That shared understanding shapes how we collaborate today.

ROSHNI: It’s not just about the city but the emotional space we shared during those formative years. Those experiences have profoundly shaped Studio Renn.

WW: In works like Bleeding Tooth and Puffball, you challenge conventional notions of beauty. How do you approach these themes, and what reactions do you hope to evoke?

RAHUL: With Bleeding Tooth, ruby cabochons evoke drops of blood, creating a tension between allure and discomfort. Puffball explores incompleteness, leaving casting skins on gold unpolished. These imperfections provoke questions about the nature of beauty and completion.

ROSHNI: We don’t aim to provoke but to invite reflection. Jewelry is personal—some are drawn instinctively, others seek the story. Both responses are equally valid and enrich our work.

WW: Your jewelry has been featured on platforms like the India Art Fair and Sotheby’s Geneva Luxury Week. How do you tailor your presentations for such diverse contexts?

ROSHNI: Each platform offers a unique window into our studio. At the India Art Fair, we design immersive environments for experimental pieces. At Sotheby’s Geneva and PAD, where space is limited, the pieces must speak for themselves. Regardless of the venue, we strive to authentically reflect our vision.

RAHUL: These interactions are vital, offering audiences a glimpse into our practice and philosophy.

WW: As Studio Renn gains global recognition, what do you envision for its future?

RAHUL: Our manifesto said, “We don’t know where we are headed; we just want to continue doing what we love.” Curiosity drives us. It’s not about a straight path but exploring unexpected routes.

ROSHNI: It’s equally about knowing where we don’t want to go. Staying curious and true to our ethos keeps us moving forward.

“We don’t know where we are headed; we just want to continue doing what we love,”

—Studio Renn