L'HISTOIRE DE LA MAISON
The Story of the House
Jaipur · Au Monde Entier
Learn more about The Story of the HouseThe Maison MEIR: Our Story, Atelier & Craft
THE GLOBAL JOURNEY
One Atelier · The World
L’Atelier de Jaipur, au Monde
Learn more about One Atelier · The World
THE LANGUAGE OF FORM
The House’s Visual Grammar
Our design philosophy
Learn more about The House’s Visual Grammar
CATALOGUE
The Full Catalogue
Every collection, in full — browse the complete house catalogue
Learn more about The Full Catalogue
L'HISTOIRE DE LA MAISON
The Story Of The House
“All my jewelry has stories” - Eva Green.
MEIR. Four letters, two syllables, one single exhalation.
In Hebrew it carries the meaning of one who gives light. A name, in the luxury of our kind, is never decorative.
MEIR was born of that silence, and of the slow, unshakable conviction that the world truly needed another name upon its velvet. Some names are chosen. Others, at last, choose you.
Maison Meir exists at the intersection of heritage, intimacy, and modern luxury. Rooted in Jaipur's centuries-old craftsmanship and refined through Dubai's global perspective.
The house creates jewellery that feels deeply personal, timeless, and emotionally enduring.
Every piece is crafted slowly, narrated thoughtfully, and designed to become part of a woman’s evolving story.
POSITIONNEMENT
Notre Place
“Wearing jewels is a way to express the woman you are.
Without saying a word” - Chopard
Every serious house must, sooner or later, declare its place. MEIR's place is small, chosen, and held with discipline. We are an atelier maison, a single-creator house working from the Jaipur atelier.
MEIR reaches the world through a small number of channels: private appointment, in person; long-considered multi-brand partners; trunk shows, by invitation; and, most slowly, word-of-mouth and personal referral, each held to the same discipline.
The maison has chosen relationship over reach. What varies across the channels is the register. What does not vary is the standard. The maison remains small, chosen, and held with discipline.
MEIR's wearer is not acquired. She is found by the maison. She is the woman who has, over the long arc of her life, developed a serious eye for fine jewellery, and arrived at a phase of greater particularity.
She does not buy MEIR for the room. She buys MEIR for the long private conversation she will have with the piece across the next decades of her life.
THE GLOBAL JOURNEY
One Atelier · The World
“Jewellery has the power to be this little thing that can
make you feel unique.” - Jennie Kwon.
MEIR is a house born to reach the world. Not by planting flags in specific cities. Not by opening doors on famous avenues. But by making pieces so considered, so patient, so recognisably the maison's own.
At the centre of this reach is a single point of origin: the Jaipur atelier. Every piece begins there. Every piece is cut, set, polished, and signed off there, before the maison's work travels.
From that single bench, the maison's work travels, carried by the women who wear it, sought by the correspondents who understand it, encountered by anyone whose attention rewards patient work.
A house that tries to do everything in one address inevitably compromises either the craft or the reception. By holding the making at Jaipur, the maison lets the craft have the calm the craft requires, the unhurried morning light of the workshop, the long attention of hundreds that have done this for generations.
A maison can be global from day one and still refuse to be in a hurry. MEIR is precisely that. The reach unfolds at the cadence the atelier's discipline permits, never against a market calendar, always against the maison's own readiness. This is not slowness. It is rhythm.
LE PORTRAIT
Sneha
“Meir represents a light that shines from within. The very first inspiration
was the first ray of sunlight - energy, clarity, new beginnings”
– Sneha, Founder.
Sneha is, before she is anything else, a person who has spent her life learning to look closely. Drawing began, as far as her own memory is concerned, before her memory did.
Her design philosophy was shaped by two things: her deep connection to nature, and growing up around jewellery craftsmanship. Nature, for Sneha, is not a theme. It is a teacher.
Nine collections. Nine separate languages. One designer, working patiently from the same single source. The grammar is the achievement. The collections are the words the grammar has, so far, allowed itself to write.
Every founder, when she names her house, names something that is privately true of her. Sneha named hers MEIR because the founding act of her own life had been, in some quiet sense, the same act, the act of allowing a light that had always been inside her to become visible from outside.
The notebooks she keeps now, as Creative Director of MEIR, are continuous with the notebooks she kept as a girl. The studies of forms she will eventually translate into wearable metal and stone, the radiating geometry of a sun, the small held curve of a drop, the splay of a feather.
She is still, on every page, doing the one thing she has always done: looking at something carefully enough to draw it, and drawing it carefully enough to begin to understand it.
LE PORTRAIT
Nitin
“These gems have life in them: their colors speak, say what words fail of”
– George Elliot.
Nitin began, as a young man, with the two materials that would never leave him: gold and coloured stones. He joined his father Bajrang Baheti's jewellery business directly out of school.
The stones are in his soul; the structure is in his mind. Nitin is the architecture beneath the maison's light, the patient, disciplined, structurally-minded co-founder whose decisions are made quietly and at long horizon. Build MEIR slowly enough that it can become old. A business is built for a horizon of years; a maison is built for a horizon of generations. The maison is young. He is preparing it, every day, to become old.
Of the half of the maison the world sees less, by design and by temperament - the patient, disciplined, structurally-minded co-founder whose decisions, made quietly and at long horizon, are the conditions of possibility for everything the maison's eye has been allowed to do.
Nitin does not draw the pieces. The pieces, however, would not exist without him. The maison knows this. He could give MEIR, from the first day, the structural foundation of a house that had already learned, in other businesses, how to build itself.
The supply chains were known. The atelier disciplines were known. The financial frame was known. The temperament of patient growth was, by now, second nature. MEIR did not need to discover these things. MEIR inherited them, fully formed, from the architect who was prepared, at last, to put his most personal venture into the world.
THE ATELIER
Le Métier
“Wear a fabulous smile and great jewelry, and know that you are
totally and utterly in control” - Donatella Versace.
The bench in a real atelier has a particular sound: files on metal, the soft tap of the hammer, the murmur of two artisans confirming a measurement, the brief silence as a stone is held to the loupe.
The bench at MEIR holds three generations of craft. The maison hires by lineage and by hand, not by certificate. Most of our artisans came to the bench as children, learning at their father's elbow.
A MEIR piece may pass through fifteen, twenty, thirty such hands before it earns its seal. The cast is filed by hand, set by hand, polished by hand. The hand remembers what the page cannot.
The maison's working rule is that no piece is touched by an artisan who has not, himself, served seven years at the bench. Setting, polishing, finishing, enamelling, each its own discipline, and each requires its own apprenticeship. There are no shortcuts. There is no faster way.
A bench, at its core, is simple: a wooden plank, a leather skin to catch the metal dust, a small vice, a lamp at the right angle. Around it, the tools have not changed in two centuries, files of varying cuts, the saw frame and its blades thinner than a hair, the pitch bowl for chasing, the loupe at ten and thirty magnification, the millimetre rule, the tweezers in five sizes.
The maison invests in modern equipment where it serves, the laser welder, the ultrasonic cleaner, the gemmological microscope, but the cutting and the setting and the finishing remain hand-tool work. No piece of MEIR has been, or will be, set by a machine.
MATERIALS
Meir Enamel
“Colour is what gives jewels their worth. They light up and enhance the face.” - Christian Dior
Enamel is the most patient material in fine jewellery. MEIR has chosen to bring it back to jewellery, under its proper name. That name is Émail Grand Feu, great fire.
Vitreous enamel is glass. Three traditions feed into the maison's practice: the Genevan watch-dial tradition, the Limoges tradition, and the Indian Meenakari tradition of Jaipur, precision, depth of colour, and vivid architecture.
Every piece is fired at grand feu temperatures, 800 to 900 degrees Celsius, in a controlled kiln, with the firings logged by the artisan, piece by piece. Four stages of fire, each requiring its own discipline.
What is rarely understood, outside the atelier, is that every firing is a risk. The enamel can crack as it cools. It can bubble. It can lose its colour. It can shift in the cell. A piece that has taken twenty-eight days of patient work can, at the fourteenth firing, fail, and the artisan must begin again.
This is why so few houses still practise grand feu. The industry has, over the last half-century, replaced it with cold enamel, resin and lacquer surfaces that look, at a distance, similar, but cost a fraction of the labour and carry none of the risk. The maison refuses these substitutes, in any collection, for any reason.
MATERIALS
Meir Diamonds
“A diamond earns its sparkle from the pressure it endures.”
– Matshona Dhliwayo
Before a stone is chosen, before a metal is poured, there is a form. That form is not an ornament added to the piece. It is the piece. Shape is the collection.
Nine collections. Nine sources in nature: the sun, the star, the drop, the feather, the wing, the ray, the network, the bond, the cell. And behind those nine sources, a single hand.
This is the silent rule that holds the language together: shape is the collection; colour and material are interchangeable dialects. MEIR's language of form is the consequence of an older discipline: looking long before drawing.
MEIR works with round brilliant, princess, marquise, pear, oval, emerald and baguette cuts, chosen by collection, never by inventory convenience. Every stone's proportions are verified: the table percentage, the depth percentage, the polish, the symmetry. Excellent or Very Good. Nothing below.
MATERIALS
Meir Gems
“These gems have life in them: their colors speak, say what words fail of”
– George Elliot.
Diamonds are read by certificate. Coloured stones are read by hand. MEIR is, by birth, a house of coloured stones. Every coloured stone in the maison is hand-picked at the source.
No coloured stone of MEIR is purchased from a parcel sealed by another hand. Every stone is selected one by one. Selection is done under three lights: northern daylight, warm incandescent, and the candle of the salon.
The coloured stone is the maison's signature. Every stone is met before it is set. Every origin is named. Every responsibility is carried. One stone at a time. One reading at a time. The maison has no other speed.
Hand-picking is also a long-form discipline. A necklace of seven matched Colombian emeralds, all of one origin, all of one register, may take three to five years to assemble. The maison does not announce such pieces; they are built quietly, in the workshop, until the suite is complete.
Every coloured stone of MEIR is traceable to mine, to trusted dealer, or to documented historical stock. The maison favours sources with verified labour conditions. Gemfields' audited Zambian and Mozambican mines, the Muzo and Chivor estates with chain-of-custody, the Mozambique unheated-ruby market with its formal exports.
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THE LANGUAGE OF FORM
The House’s Visual Grammar
Before a stone is chosen, before a metal is poured, there is a form. That form is not an ornament added to the piece. It is the piece. Shape is the collection.
Nine collections. Nine sources in nature: the sun, the star, the drop, the feather, the wing, the ray, the network, the bond, the cell. And behind those nine sources, a single hand.
This is the silent rule that holds the language together: shape is the collection; colour and material are interchangeable dialects. MEIR's language of form is the consequence of an older discipline: looking long before drawing.
LA COLLECTION
Crown
“The sovereignty of the self, rendered in gold.”
CROWN by MEIR is a statement in luxury fine jewellery, inspired by the domed grace of a Jaipur gateway and the vertical severity of a Dubai tower.
Seven rising points, each set with a solitaire diamond, create a distinctive crown silhouette. Hand-forged in our Jaipur atelier, the 18-karat gold band carries a powerful rhythm.
Created for the woman who does not ask to be admitted, CROWN is jewellery as self-appointed sovereignty.
This distinctive diamond jewellery collection transforms the traditional crown into a modern expression of confidence, individuality, and quiet power.
Handcrafted luxury jewellery from MEIR, CROWN is worn as a private coronation, claimed by the wearer, for herself.
LA COLLECTION
Nova
“A star, newly born, worn at the collarbone.”
NOVA by MEIR captures the revelation of a star newly born. A single round diamond appears suspended within a corona of pavé petals, creating an extraordinary floating effect above the collarbone.
The signature suspension bezel setting allows light to enter from every angle, illuminating the stone with exceptional brilliance and movement.
Crafted with an 18-karat rose-gold chain, NOVA is a distinctive piece of fine diamond jewellery for life’s defining thresholds: the first kiss, a signed contract, a quiet transformation.
Designed in the MEIR atelier, this celestial jewellery collection celebrates presence, light, and personal milestones through an elegant silhouette that feels intimate, modern, and unmistakably luminous.
LA COLLECTION
Dew
“Morning, caught before it can evaporate.”
DEW by MEIR captures morning before it can evaporate.
Miniature droplets of briolette-cut aquamarines, moonstones, and near-colorless diamonds are arranged on invisible gold filaments, creating delicate fine jewellery that trembles with every movement.
The metal disappears against the skin, allowing each gemstone to appear like a perfect drop of morning light.
The softest of the MEIR collections, DEW transforms tenderness into a sophisticated expression of modern luxury.
Designed to move at the wrist, ear, and throat, these handcrafted pieces bring the feeling of morning indoors.
Wear DEW with bare skin and effortless linen for an intimate interpretation of diamond jewellery, aquamarine jewellery, and quiet elegance.
LA COLLECTION
Flutter
“The heart, translated into motion.”
FLUTTER by MEIR translates the heart into motion. Its signature wing of pavé diamonds is articulated on a gossamer hinge that responds to every micro-movement of the wearer.
A laugh makes it shimmer, a sigh makes it settle. This distinctive fine jewellery collection captures the fleeting moment when emotion becomes movement, light, and expression.
Inspired by birds, butterflies, and the beauty of lightness, FLUTTER is contemporary diamond jewellery designed for a woman who refuses to be reduced to stillness.
The collection transforms movement into a refined visual language, balancing delicate craftsmanship with confident character.
MEIR FLUTTER is jewellery that celebrates emotion, individuality, and the freedom to move differently.
LA COLLECTION
Plume
“The quill of a woman who writes her own century.”
PLUME by MEIR transforms the feather into a signature of light, writing, and self-authorship.
Each piece takes the form of a long, fluid plume, articulated in marquise and pear-cut diamonds that graduate like the barbs of a feather.
Brushed metal gold provides a refined foundation, allowing the diamonds to speak with quiet brilliance.
Designed as an ear-climb, brooch, or choker, PLUME is fine diamond jewellery always in the act of writing.
Its sculptural feather silhouette becomes a personal signature, leaving its meaning to the wearer.
Handcrafted in the MEIR spirit, this luxury jewellery collection celebrates women who write their own stories with courage, individuality, and unmistakable presence.
LA COLLECTION
Prism
“One woman, an infinity of selves.”
PRISM by MEIR celebrates the infinite dimensions of the modern woman through light, geometry, and diamond.
At its heart is the proprietary MEIR Prismcature cut, a fifty-seven-facet architecture designed to refract light into deliberate rainbows upon the skin.
Architectural geometry gold volumes frame each stone, creating distinctive luxury jewellery with extraordinary visual presence.
More than a diamond, PRISM is a private sunrise carried from morning into night. This contemporary fine jewellery collection embraces every colour, every identity, and every version of the woman who wears it.
With its signature Prismcature cut and sculptural gold setting, PRISM transforms light into a modern expression of individuality and self-definition.
LA COLLECTION
Link
“Binding, not bound.”
LINK by MEIR reimagines the chain as a language of connection and authorship.
Each link is hand-finished in Jaipur, while weight and proportion are calibrated in Dubai for a precise fall upon the body.
Historic curb, Figaro, mariner, and Byzantine forms are revisited in 18-karat gold, creating contemporary luxury jewellery with enduring character.
Some LINK pieces introduce diamonds where the links meet, creating punctuation within the chain, while others allow the purity of gold to remain uninterrupted.
This fine jewellery collection celebrates continuity, lineage, and chosen connection. LINK is for the woman who understands that a chain need not be a cage; it can become a symbol of belonging and self-authorship.
LA COLLECTION
Web
“The architecture of the patient woman.”
WEB by MEIR is an architectural expression of patient design.
Its signature open-work lattice in white gold is so fine that it reads like lace upon the skin, with diamonds positioned at every skin intersection.
The result is structural yet ephemeral, a distinctive piece of luxury fine jewellery that appears woven rather than made.
Designed for bare shoulders, a bare back, or the wrist, WEB brings geometric precision and delicate light together.
Inspired by the patient woman who composes rather than chases, the collection creates a sophisticated language of white gold and diamonds.
MEIR WEB is contemporary diamond jewellery designed to be read, discovered, and remembered.
LA COLLECTION
Hexa
“Six sides. One truth. Infinite geometry.”
HEXA by MEIR transforms the ancient geometry of the hexagon into a modern expression of fine jewellery.
Inspired by the honeycomb, snowflake, and molecular structure of the diamond, each piece is built on precise yet hexagonal forms.
Set within honeyed gold frames, the stones tessellate into a luminous field of extraordinary geometric precision.
HEXA balances mathematics with tenderness, translating nature’s most enduring geometry into contemporary luxury jewellery.
Designed as a signet ring, an earlobe cascade, or a collarbone inscription, each piece reveals individual sunlines within a unified composition.
This distinctive diamond jewellery collection celebrates precision, sweetness, individuality, and the infinite possibilities of modern feminine expression.
The Full Catalogue
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