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Fleur & Noëlle’s Hearts Beat For IndiaBy - TIMESOFINDIA.COM Updated: Jun 25, 2020, 12:39 IST

The annual ritual ‘Design Inspirations’, a seminar organised by theGem & Jewellery Export Promotion Council (GJEPC) in associationwith trend forecaster Paola De Luca of The Futurist Ltd., was held onthe last day of IIJS Signature on February 16, 2020. A galaxy ofspeakers from various fields shared their experiences with theaudience, giving them insightful directions whilst promoting anexchange of cross-disciplinary thinking. Here’s the first article in theDesign Inspirations series based on the session dedicated to‘Heritage and Values’.

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Meet Fleur Damman-van Gelder and Noëlle Viguurs, the two sisterswho run the Van Gelder Indian Jewellery (VGIJ) in the Netherlands,which was founded by their mother, Bernadette van Gelder-van derVen in 1980. VGIJ is a leading international dealer, specialising intraditional Indian jewellery.

The sisters got hooked to the unique aesthetics of Indian jewelleryand two decades later, they took charge of VGIJ. Even as theyembraced the new world, they have not lost their grip on thecompany’s core business. India was, and remains, the focus of theircollections, and last year, they relaunched the ‘Heritage’ and‘Contemporary’ collection, which includes four lines - Colors, Jali,Jodha Bai and Chandra - all inspired by the country that is close totheir heart.

An act of providence led Netherlands-based Bernadette van Gelder-van der Ven to dive deeper into Indian jewellery. The country’sculture, history, mythology and artistry fascinated her so much thatshe went on to specialise in Indian heritage jewellery. Soon, VanGelder Indian Jewellery (VGIJ) grew into a leading internationaldealer, displaying its products at top galleries, museums and showssuch as the TEFAF.

Her daughter, Noëlle, recalled Bernadette’s tryst with India during herkeynote address at the ‘Heritage and Values’ session on the last dayof IIJS Signature 2020. “The first time my mother travelled to Indiawith my father, she felt like it was a homecoming. She was completelyin love with the country, the people, their kindness and especially,the jewellery. India is a nation, but for us, it is a continent. Everyculture, and the tradition in each and every corner of the country isdifferent. It intrigues us so much that we want to know more,” shestated.

Bernadette’s entrepreneurial nature drew her to India a couple oftimes a year, and she began collecting heritage jewellery pieces tounderstand them. Noëlle said that this comprehensive studyprompted her to specialise in Indian jewellery, adding, “If you want toachieve success, you need a bit of luck and my mother had that luck.She was at the right place at the right time. She also met the rightpeople who guided her.”

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(A small gold jhumar chabkka head ornament shows the openworkedtop kundan set with foiled white sapphires and rock crystal on bluefoil ( jadat) in an intricate pattern of flowers, a crescent moon and sunsymbol, flanked by two peacocks. Suspended from the top is anelaborate fringe of gold collets, kundan-set with white sapphires,sides decorated with red and green enamel, suspended pearls andturquoise glass beads. The reverse of the jhumar is decorated withSafed Chalwan enamel, red and green on a white base in a crescentmoon, flower and bird design, echoing the frontal design. The jhumaror chabkka is a traditional Muslim wedding ornament worn by womenon the left side of the head. It is not an ornament that is to be worndaily)

THE FAMILY JEWELSTHE FAMILY JEWELS

Growing up, Noëlle and Fleur, too, became acquainted with thehistory of Indian jewellery, courtesy Bernadette’s enthusiasm. “Everytime she would return from India, we little kids would get to seeunique jewellery and learn how to handle them; how to wear them;learn about their quality; the meena work and so on. It was a gift forus! Hence, it was a logical and natural decision to join the companyonce we grew up,” Noëlle added.

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(The spherical 18-karat gold ear pendants from the Colors collectionfeature an oval top with a suspended stem, terminating with aspherical white agate oval bead. The gold stem is decorated withthree delicate rims of white enamel in a linear pattern.)

The two sisters, who have an Arts background and spent yearsstudying in Italy and France, joined VGIJ in 2000 to becometorchbearers of their mother’s legacy. However, both were clear thatthey did not want to replicate what Bernadette did, but add theirindividualistic signature to the designs over time.

“Initially, we did what Bernadette had left behind, which itself waschallenging. We displayed Indian jewellery at international art fairslike TEFAF and various art and exhibition events. Although the showswere successful, we later explored avenues to exhibit the collectionsthrough different collaborations. We curated museum exhibitions andteamed with fashion designers and also started our owncontemporary jewellery collection,” Noëlle recollected.

As second generation businesspersons, the duo felt the urge toexpress their interpretation of Indian jewellery in the Netherlands,while remaining close to country’s tradition. They wanted to makethese collections feasible through designs.

Additionally, they wanted their designs to carry a detailed history withscientific specifications. So, in 2012, the sisters extended theirresearch methods with a complete and factual scientific review bycommissioning an independent precious metal and gemmologicalresearch report. They collaborated with Dr JC Zwaan of TheNetherlands Gemological Laboratory Leiden.

Today, every item in their collection is accompanied by a full arthistory and an independent gemmological scientific account, goldreport, as well as its wear and tear information. “We take ourresponsibility and reputation with regard to our company, collectionand clients very seriously.”

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(A pair of white gold Jodha Bai ear pendants, topped with asuspended tapered stem decorated with delicate filigree, twistedwire and engraved linear patterns. The blunt bottom is carved with astylised floral motif. The earrings are enhanced with blue and greenenamel.)

REVISITING TRADITIONREVISITING TRADITION

In 2007, Fleur met with a serious accident, which put the pair’s planson the backburner for a while. But overcoming this challenge, sheemerged stronger and actually started sketching designs.

Talking about those trying times, Fleur said, “During this difficult time,I encountered a void that I wanted to explore and see what it bringsme to. I wanted to go beyond to the acquired knowledge aboutIndian jewellery that we grew up with. The void gave me a distanceto look from further than I could have ever imagined and visualise theoutlines. And with the beautiful miniscule images that I used to seeunder the microscope in the lab made me discover the origin ofquality, intricacy of designs, gems and their amazing flaws, and whatmakes something so special. This helped me embrace the newperspective to create the various collections.”

This resulted in the relaunch of the ‘Heritage’ and ‘Contemporary’collections. The former is VGIJ’s backbone, and defines the best kindof sustainable luxury, which should be re-worn all the time. Fleurcommented, “We look for museum-quality pieces, which arecollectibles.” They also have a workshop in Amsterdam, where thecompany restores old jewellery with original elements.

The challenge in creating the ‘Contemporary’ range lay in infusingthe same credence into it as the ‘Heritage’ collection. “We had totake care that the designs had multiple aspects - including tactileappeal. Above all, it had to be an intelligent, well-thought-through,balanced design.”

The ‘Colors’ collection was inspired by colours seen on the Indianstreets - the colourful saris, belles carrying water pots gracefully witha flowing sense of femininity. The ‘Jaali’ (trellised) series wasinfluenced by the screens of Fatehpur Sikri palace’s architecture,which have a linear geometric visual language.

“We incorporated rigid patterns in the line. The Jaali not only shieldsthe view but filters light through it on the floor, regulates temperatureby allowing air to come into the room in a compressed way. Wewanted to lend that flowy and flexible feel to the collection,”explained Fleur.

(Obverse and reverse view of enamelled Champakali necklace fromthe Heritage collection.)

BEJEWELLED BEAUTYBEJEWELLED BEAUTY

The ‘Jodha Bai’ collection, named after one of Mughal emperorAkbar’s favourite wives, is again inspired by her palatial quarters inFatehpur Sikri. The ornate enamelled collection is an ode to theformidable queen.

Rajasthan evokes stories of the strength of Rajput warriors and rollingexpanses of deserts. These elements are reflected in the ‘Chandra’collection, which has solid and strong designs in silver or white goldjewellery. “Silver is represented by the moon and gold by the sun,and the combination symbolises the male and female influence. Wewill launch two more collections later in the year,” Fleur noted.

Sharing a few words of advice for designers wanting to make a markfor themselves, she suggested, “Make jewellery that is meaningful foryou. Ask yourself, ‘What do I want to bring to the table?’ Your designrepresents who you are. Materialise your vision, and come back tothe same question again and again: ‘Why did you want to be adesigner in the first place?’)

And if designers want to make inroads into foreign markets, it isimportant to use the power of styling - to envision the blending ofWestern and Eastern aesthetics, she said.

VGIJ continues to build bridges between international clients andIndia. And their glorious journey continues.

(The 18-karat gold latticed (Jali) cuff showcases open and cuppedcircular elements of varying size. The interior of the each cuppedshape has a high polished, mirror-like finish, while the rest of thebangle has a matte finish.)

(A pair of flexible 18-karat yellow gold Jali earrings features fivehexagonal linked pendants, which are crafted with matte knife-edgeoutline and inside, high polished round trellis, creating ageometrically latticed decor. The version with the gemstone ruby, arethe stones randomly set as a reference to damaged, coloured glassin Mughal palaces.)

By Shanoo Bij laniBy Shanoo Bij lani

Courtesy: Solitaire InternationalCourtesy: Solitaire International

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