When Malayalam cinema’s iconic star appears in a frame wearing jewellery, it naturally draws attention. Vinsmera’s maiden campaign featuring Mohanlal moves beyond traditional jewellery advertising, it questions long-standing gender norms in the category.
Created in collaboration with Nirvana Films and directed by Prakash Varma, the film explores the connection between masculinity and jewellery, an idea still uncommon in Indian advertising.
We spoke to Dinesh Kambrath, Co-Founder, Vinsmera Jewels, and Prakash Varma, Co-Founder, Nirvana Films, to understand how the idea came about, what went into making it, and why they see it as the start of a broader shift.
Q] The first campaign by the brand breaks away from traditional jewellery advertising with a bold, unconventional narrative. What inspired the concept, and what led to the decision to challenge gender norms around jewellery?
Dinesh: For this campaign, we were clear that the narrative had to be unique. It was Mohanlal who suggested the name of Director Prakash Varma. I had received ideas from almost 20 storytellers, but Prakash’s vision stood out. He had never directed a jewellery commercial before, and that was a definite risk I was taking.
The final campaign challenges long-standing perceptions by declaring that jewellery is not just for women, it’s for everyone. It doesn’t belong to a single gender or religion. We knew this was a bold move that could spark both praise and criticism. But in today’s crowded space, if a brand doesn’t stand for something meaningful, it gets lost in the noise. So, we’re proud to have taken that step with Vinsmera.
At the outset, Prakash said just one thing to me: ‘Mr. Dinesh, all I need from you is your trust, nothing else.’ That trust became the foundation of everything we built.
Prakash: The intent was to explore the fluidity between masculinity and femininity. Haridas, my Creative Partner on several projects, Sneha Iype, Executive producer at Nirvana Films and I were enthused about the opportunity to break a stereotype. The clients were very receptive too. Haridas wrote the script. I wanted to see if Mohanlal would connect with it. His excitement gave me the confidence that we could make it happen. On the day of the shoot, everyone came into the set unsure but were excited to see this unfold. The shoot was magical. All of us got to see a master at work. He was immersed in the moment. Surrendering to some divine power as he wore the jewellery and we were all stunned into silence. His grace and divinity in that moment are inexplicable. We just watched mesmerized as he worked his magic. Once I got what was needed we moved on. No extra takes.
Q] What sparked the need to start Vinsmera, and how did your association with Mohanlal come about?
Dinesh: My brothers - Anil Kambrath, Manoj Kambrath, Krishnan Kambrath, and I have been in the jewellery business since 2008 as wholesalers, exporters, importers, and manufacturers in India and the Middle East. We always intended to start a retail brand, but believed the right time would come on its own. Last year, we felt it had. Before entering the market, we were clear about the values we wanted to uphold: religious and gender equality. These aren’t just brand values; we live by them. That’s why we chose the name ‘Vinsmera’. The brand’s name ‘Vinsmera’ is derived from the Sanskrit words ‘Vismaya’ (wonder) and ‘Smera’ (smile), chosen to reflect the brand’s values of joy, inclusivity, and a shared sense of humanity. Finding a brand ambassador wasn’t just a marketing decision; the person had to align with the value system. So, I reached out to Mohanlal directly, and no agency was involved in the discussion.
A friend who knows him helped me connect, and I met him in person. I told him, ‘Lalettan, I want you to be my brand ambassador.’ He laughed and said, ‘Dinesh, you haven’t even opened your first store, and you’re already asking for a brand ambassador?’ I told him honestly, ‘If you say yes, I’ll start the brand. If not, I won’t.’ He said he’d think about it and get back in two weeks, but he called me just two days later and said, ‘Dinesh, I’m in.’ That’s how it all began.
Q] Was the campaign designed to position men as a key audience and help normalise jewellery for them, as seen through Mohanlal’s portrayal?
Dinesh: In the olden days, rajas and maharajas wore jewellery. Years or centuries later, now, men stopped wearing jewellery. But I believe there is no man in the world today who has never worn his wife’s jewellery at least in the bedroom. One of the main reasons I chose this subject is that it’s something most people try to hide, just like Lalettan did in the film. No one dares to address it openly, but through this campaign, we did exactly that. We are also launching a dedicated collection for men, and pieces inspired by Lalettan that carry a personal, emotional touch for both men and women.
Prakash: As Mohanlal was already on board as the face of the brand, it felt natural for him to wear the jewellery himself, rather than simply endorsing it conventionally. The music was crucial in tying the film together. While I had suggested a few tracks, Mohanlal is the one who reminded me of the Swati Thirunal kriti that we recomposed for this film with Bijibal. Honestly this concept exists and so does the music. It is all part of our own history and culture. This is presented in a new form, that’s all.
Q] Though the campaign was in Malayalam, it sparked national interest. What kind of responses have you received since its release?
Dinesh: I’ve always believed that any bold idea will invite both praise and criticism; that’s expected. But in this case, the positive response far outweighed the negative. While some did raise objections, the majority appreciated the message and the conversations it sparked. It was a calculated risk, but one that has moved the needle. What’s been especially encouraging is the global response. I’ve received messages from people in countries like Russia, Italy, and the U.S., all appreciating the campaign. For a debut ad, that’s a strong start.
Now, the challenge is to maintain that standard. For me, for Mohanlal, and Prakash, this sets a benchmark. Now we can’t go back to conventional storytelling, featuring women as protagonists in the jewellery ad, we have to continue building narratives that stand apart.
Prakash: The kind of response and conversation the ad has sparked online is rare for a commercial. It’s encouraging to see a piece of advertising generate cultural dialogue; it shows us what people are open to and what they push back against. For the client, this exceeded expectations. And for us as creators, that kind of impact is deeply rewarding.
Q] Masculinity in Indian ads has evolved from the ‘tough guy’ to more emotional roles. With your campaign embracing fluidity, do you see Vinsmera helping reshape how masculinity is viewed in India?
Dinesh: People always talk about ‘muscular men’ and all that. But I believe that men, especially Indian men, are deeply connected with their families. They’re good sons, good husbands, good fathers. They carry emotional responsibility. And we need to acknowledge that, too. We have to care about them as well. That’s why we wanted to do something bold. Why should there be discrimination between males and females? We’re all the same, don’t see it any differently. It’s the 21st century now.
Q] Vinsmera is spending Rs 2000 crore on its retail presence. While Kerala-based brands like Malabar Gold and Kalyan have expanded nationally, is Vinsmera focused only on Kerala and Dubai, or are there wider expansion plans ahead?
Dinesh: From the beginning, our vision was to build an Indian brand with a worldwide presence. We started with our first store in Calicut, followed by a soft launch in Dubai, where our second showroom is already live, and three more will open in the next two months. We also have a store coming up in Cochin and are actively exploring locations in Mumbai, Bangalore, Hyderabad, and Chennai. In parallel, we’re in advanced discussions for three stores in the U.S. and one in the U.K. This is going to be a global brand, and that’s always been the goal.
