We’ve all heard about the famous dishes of Chettinad, a region in the Shivaganga district of Tamil Nadu that is known all over for its famous cuisine, grand mansions and the wealthy Chettiar families. But how many of us have heard of Pettagam (if you’re a South Indian, chances are that you’ve had one of these in your family, whether you are part of the Chettiar clan or otherwise)?

Well, what exactly is a Pettagam? “Traditionally, every Chettiar home has a Pettagam -- an iron chest that safeguards the family’s most precious possessions. The dream behind our “Pettagam” at Karaikudi was to preserve the legacy of Chettinad jewellery,” says Meenu Subbaiah, a GIA-grad and jewellery designer who launched a novel concept of Chettinad jewellery museum with the name Pettagam.  “Chettinad jewellery is understood in multiple ways, but the true style of Chettinad jewellery has not been properly showcased. We have very little documentation pertaining to the traditional designs and craftsmanship. There’s great documentation about Chettinad mansions, cuisine and textiles, but very limited when it comes to jewellery. So, the idea of opening a private museum for Chettinad jewellery was born.”

Subbaiah says Pettagam is also a celebration of the history of the Nagarathars (Chettiars -- the business community in Tamil Nadu), the fearless traders who crossed oceans in search of opportunity and brought the world back home with them. From weaving European flavours into their cuisine to incorporating Art Deco elegance into their jewellery, the Nagarathars blended global influences into their rich traditions. According to her, the concept of Pettagam museum unfolds as a space that celebrates the global journey of the Nagarathars and how echoes of the past come alive in the Chettinad aesthetic of today.

“We have designed “Pettagam” as a classic Chettinad edifice. Spread across two floors, it takes visitors through a multimedia journey showcasing the quintessence of Chettinad jewellery. The journey begins by tracing the origins of Chettinad jewellery, its regional motifs, and craftsmanship that has evolved over five generations,” says Subbiah. “This further leads into a theatre space where a short film draws the visitors into the world of diamonds, intricate designs and the skilled hands of aasaris practising age-old techniques. Pettagam spotlights the dying art of traditional close setting, a meticulous technique used in less than 10% of traditional jewellery worldwide.”

The second floor showcases three distinct genres of jewellery: authentic Chettinad ornaments, exquisite reimagining of regional artistry from various states of India, and sleek yet statement-making modern designs. “On this floor of Pettagam, classic kandacharams, poocharams, and mullaicharams from Chettinad are juxtaposed with incredible adaptations of the rich Kasumala of Kerala, the attractive Arakku temple jewellery of the Chola and Pandya kings, the intricate Jali wrist adornments from the Mughal era and the opulent Kundan necklaces from the royal courts of Rajasthan. And then there is jewellery that makes seemingly impossible demands on the technology used to create it—in this section of the museum, modernity takes over. “Every region in our country has a beautiful ancestral legacy in jewellery. These legacies deserve to be protected, preserved. Pettagam is our humble effort to archive Chettinad’s rich and layered jewellery heritage.”

Subbiah has been doing extensive research on Chettinad jewellery for the past 20 years. “Talking to elders in the community also gives tremendous insights. Reading references in literature. In music. Sifting through hundreds of sepia-toned photographs of impeccably dressed Aachis (Chettiar women) adorning sparkling diamonds. This year, I felt the time had come to renew my Vilasam, which in Chettiar parlance translates to “my identity,” she says

In order to do this, Subbiah recently launched a new brand, Vilasam, that focuses exclusively on authentic Chettinad jewellery. “Vilasam is a heartfelt homage to the grandeur of Chettinad’s cultural legacy. This collection celebrates the region’s distinctive aesthetic and intricate craftsmanship. Born of two decades of research, Vilasam is inspired by traditional Chettinad art and architecture, like the paintings on ceilings in Chettinad homes and the patterns on Athangudi tiles,” she says.

According to the designer, this collection’s uniqueness lies in how flexible gold links have been incorporated for fluidity and comfort. “These designs are crafted to fall effortlessly on the body, rather than resting as rigid ornaments. Peacock motifs are an integral part of Chettinad jewellery, and Vilasam abounds with these dancing birds,” she says. “Every piece in the Vilasam collection has been meticulously handcrafted by traditional aasaris; each intricate detail is the result of painstaking manual craftsmanship. Meenu Subbiah’s aasaris have their ancestral roots in the historic Chola and Pandya kingdoms, carrying forward techniques that have been perfected and passed down through centuries.”

How is Chettinad jewellery different from other Indian jewellery styles? What makes it unique? Subbiah says Chettinad jewellery is made entirely in 22-karat gold and is known for its closed-setting technique, where gemstones are secured from the back. Rubies and Colombian emeralds are most used. As the Chettiars travelled extensively to Burma, many pieces also feature exquisite Burmese rubies and pearls.

“What truly makes this jewellery tradition unique is its symbolism. Every motif has an intention and meaning behind it. Take the crab, for instance, a motif seen often in Chettinad pieces,” she says. “Historically, the Nagarathars journeyed along what they called the “crab route,” a faster sea path compared to the “tortoise route.” As a mark of gratitude, the crab found a place in the Chettinad mangalsutra, the Kazhuthuru.”

The community has distinct ornaments for every milestone -- birth ceremonies, coming-of-age rituals, weddings, and more. Each piece carries its own story and cultural significance, deeply rooted in Nagarathar traditions. Another remarkable example is the Gaurishankaram, a gold ornament depicting Gauri Shankar with a Rudraksha at the centre. This was traditionally worn by men during their 60th birthday or wedding anniversary, symbolising a major life milestone.

“Chettinad jewellery is distinguished by its traditional close-setting technique, where each stone is secured within a gold surround rather than with prongs. This method uses more gold and results in pieces that are sturdier, richly detailed, and instantly recognisable. It’s a rare technique and only a very small group of artisans still know how to do close setting,” says the designer. “For this technique to endure, we need to bring more close setting jewellery into the market, make it more commonly available. With our newly-launched Vilasam brand, we hope to revive and preserve this dying skill.”

The Vamsam brand celebrates the vast tapestry of India’s heritage to inspire modern women to embrace tradition. It’s also about bringing two different traditions together to create something new. Like, embellishing Kerala’s traditional Mullai Mottu pure gold necklaces with a hint of precious gemstones. Or adding a touch of contrasting enamel work in traditional Jadau. “Menaya collection is everything unconventional. Menaya looks ahead. This line interprets contemporary design with fluid forms that lend themselves to both everyday wear and occasion dressing. It reflects an understanding of how jewellery today is less about convention and more about self-expression. It asks why diamonds should only be cut in familiar shapes or why design should wait for technology when technology can be invented for design.” Flexible chokers that hug the neck, foldable rings that move with the fingers, day and night bracelets that shift from white to rose gold -- Menaya offers pieces that are versatile, confident and resonant with the personal journeys of those who wear them.

Subbiah says over the last three decades, she has been learning every single day. “Design constantly teaches you something new. But through all that learning, one thing that has remained at the core of my philosophy is originality. I have always believed in creating pieces that are timeless, pieces you would want to pass down as a legacy,” she says. “What also excites me is the evolution of design. Every region in India has its own unique aesthetic, and over the years, I have watched these boundaries beautifully blur. Earlier, if you attended a South Indian wedding, you would see only South Indian jewellery, and the same was true in the North. Today, that has changed. For every occasion, people choose different styles.”

According to Subbiah, traditional ceremonies still honour regional designs, but events like haldi or mehendi have given space for creativity, themes and fusion. “This has opened up a huge opportunity for design innovation, where South meets North, traditional blends with contemporary, and allows designers to reinvent pieces in fresh ways,” she says. “Along the way, I have also learned to adapt, blending regional influences into our collections, reviving Chettinad jewellery, and embracing the future through technologies like CAD and CAM. I often say that a piece should be loved when someone is 20, still feel right when they’re 30, and remain just as meaningful when they’re 40. Truly timeless design has no age, and that is what I strive to achieve. That’s my design philosophy.”