Six hands.
210 years at the bench.

Kishan ji has been at our bench since 1979. His father was a Meenakar in the Pratapgarh tradition; Kishan came to Jaipur at 16 to apprentice with the third generation of our house and never left.

He works exclusively on enamel — the powdered glass that gets fired onto the reverse of every Kundan Meena piece. His blue and his red are unmistakable to anyone who has handled them.

Ramesh ji leads our Jadiya team — the craftsmen who set stones into Kundan pieces by pressing 24kt gold foil around each gem. He has set the central polki on every major bridal commission we have shipped since 2003.

His hands have been in the same atelier longer than most of our family has been alive.

Mohan ji builds the gold scaffolding — the Ghaar — that every other karigar then sets stones and enamel into. He has been at our bench since the early 1970s, working under three generations of the Kadel family.

No Neelam Jewels bridal haar leaves the atelier without his framework underneath.

Priya ji is one of the few women working at this level in the Jaipur jewellery quarter. Trained by her uncle (a third-generation engraver), she handles initialing, dating, and decorative engraving on the reverse of pieces — work that often only the wearer ever sees.

Her engraving is unmistakable — a slight rightward slant we have come to associate with the house.

Ahmed ji handles all in-house stone cutting and re-cutting. We rely on him when a commission requires a specific carat weight, a particular shape, or when a rough stone arrives that needs to become two matched cabochons.

He works in the lapidary corner of the atelier — the loudest and dustiest part of the building — six days a week.

Farooq ji came to Jaipur from the Cuttack silver tradition and brought a different vocabulary of filigree with him. He leads our silver collection work and has trained two of our younger karigars in his methods.

His silver Jhumka frames have been quietly imitated across the Jaipur trade. He does not mind.