Forget 'rhinestone-maxxing', Indians have been 'gem-maxxing' forever

There is something oddly satisfying about accessorising that does not know when to stop. One enormous necklace, a fistful of rings, earrings that almost graze the shoulder, layers of gold competing for attention—the fashion mood right now is decidedly 'more is more'. And in India, where gemstones and jewellery have been woven into our sartorial and cultural history for centuries, the idea of going big is hardly new.

From the elaborate Jadau and Kundan traditions of royal courts to temple jewellery laden with gold and intricate motifs, precious stones have long been symbols of status, celebration, and heritage, with jewellery often taking centre stage rather than playing a supporting role. What feels new is the way this instinct for ornamentation is being translated into contemporary dressing. Enter gem-maxxing, a maximalist jewellery trend centred on piling on the sparkle, embracing colour and choosing stones that make themselves impossible to ignore. Oversized gems, vivid stones and chunky chains worn not just with bridalwear, but with a sari, a black dress, a sharp suit or even a simple white shirt and jeans.

The latest trend is less about a traditional matching set and more about excess. Chunky gold chains layered with silver, hammered pieces mixed with polished ones, colourful gemstones replacing the dominance of clear diamonds, and pearls worn alongside raw, irregular stones. Oversized ’80s-inspired earrings, dramatic drops, and rings stacked across several fingers all contribute to the same visual language, with vintage heirlooms sitting alongside new designs, different metals worn together and contrasting textures making the whole thing feel deliberately eclectic.

Dimple Kapadia is perhaps the perfect poster girl for this shift. At The Odyssey premiere in Mumbai, she wore Abu Jani Sandeep Khosla’s black couture with an oversized Tilismati eye pendant in gold, rubies and diamonds, paired with taweez-inspired earrings and stacked bangles. And this maximalist jewellery moment has arrived at an interesting time for the house itself: Abu Jani Sandeep Khosla recently launched Iconic Jewels, its first jewellery line, with Kapadia as its face. The collection brings together precious metals, diamonds, and coloured gemstones, reflecting the designers’ signature maximalist vocabulary.

Deepika Padukone offered another look in gem-maxxing when she opened Sabyasachi’s 25th-anniversary show in a monochromatic look layered with an ornate ruby-and-diamond choker, a cross pendant, oversized hoops and a stack of bracelets. The take-home message from both looks is clear: jewellery no longer needs to play the supporting act; it can, quite happily, steal the entire show, and be the entire outfit.

That appetite for excess is also being reflected by a new generation of Indian jewellery labels. Outhouse has built a signature around sculptural, statement-making pieces that feel closer to wearable art than conventional jewellery, while Valliyan’s bold, architectural designs embrace oversized forms, unusual silhouettes, and a distinctly fashion-forward sensibility. Misho, too, takes a sculptural approach to jewellery, with oversized earrings, bold cuffs, and pieces that blur the line between ornament and object. Together, these labels are making a strong case for jewellery that is designed to be noticed, layered and styled in unexpected ways.

Perhaps that is the appeal of gem-maxxing: after years of quiet luxury and jewellery designed to whisper, there is something refreshing about a piece that announces itself. The new jewellery wardrobe is not asking whether the necklace is too much, whether the earrings are too large or whether the rings match. It is asking a much more fun question: why not wear all of it?

Image credits: Getty Images 

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