No outfit is really complete without a little accessory-related panache – from statement facial furniture (the sort that serves as a failsafe conversation starter), to decadent slippers or the ubiquitous arm-(but really, waist-)candy.

Jewellery comes first to Brazilian designer and Vogue alumnus Vanda Jacintho. Embellished, chunky and oversized – crafted predominantly from wood and resin – her sculptural designs are graphic showstoppers in their own right that demand both attention and appreciation in equal measure, and prove the centrepiece of any given look.

To delve deeper into the inspirations that inform her aesthetic, and discover the original spark that ignited her passion for bijoux, we welcomed Vanda into our London offices.

Walk us through the new collection… What were your inspirations? Are there differences or similarities between this and previous seasons?
I always tend to work with colours or tones that have more of an ‘organic’ feel, like the tortoiseshell effect. Some of the pieces are created with a kind of ceramic, so they’re really fragile; I also work with bio-resin, which is a sustainable mix of different ingredients. It’s such an amazing material – you take two liquids and then you make a mould, before cooling it to create whatever shape and colour you want. 

This collection is very Bauhaus and art-deco in its inspiration. Alongside topographic images, Lina Bo Bardi is someone I was looking at closely; she was an amazing Brazilian modernist architect, who famously designed the Glass House in Morumbi, São Paulo. In fact we actually shot this season’s campaign there, through all its shapes and forms.

I like to add a lot of new things each season, but I think you could mix-and-match pieces from different collections and they could all pass as the same one. The newness in this collection comes from the beads. With the first two seasons, I was only working with wood and resin, however now I’m looking into other materials.

Wood is perhaps my favourite material – mahogany, produced in Italy, and imbuia from Brazil. The mixture of those, combined with the metal embellishment, is really chic and just goes with everything.

Has jewellery always played a big part in your life? How has your background informed your approach to design?
I’ve always been into jewellery – the interest began when I was young. I think it’s because I grew up during the 80s when, as you know, everything was super big! Plus, in my role as Fashion Editor for Vogue Brazil and Harper’s Bazaar, I worked closely with Isabella Blow, and she was always into big, chunky jewellery!

When it comes to colour, I often look to my Brazilian roots. Personally, I’m super colourful… Even more so with clothes. I feel like Brazilian women are much more daring with their palette and accessories. 

I grew up surrounded by nature in the countryside in a place called Pantanal, so I feel drawn to working with natural materials, because I remember images of that and the animals roaming around – everything from leopards to snails.

There seems to be a real story behind all aspects of your aesthetic! Does that extend to the practical side of things? For example, fitting some of your earrings with a clip instead of a stud piercing… What’s the reason for that? 
We did get a lot of requests for clips this season; practically speaking I prefer them, because if you have a heavy piece that’s pierced then you can really damage your ear lobe. Past a certain weight, the option for a stud isn’t there – you’ll need a clip as a bar won’t actually hold it. 

Of course, aesthetically, it’s also a nod to the 60s! In a lot of the movie scenes from that era, you can see girls talking on the phone and they’ll whip off their earrings when they answer it.

And what about your production; is it a combination of producing in both Brazil and Italy?
I’d say 90% of the production happens in Brazil; I’m only just beginning to produce a few things in Italy. In the future, I’m hoping to try and produce my bestsellers here so it will be easier for distribution. 

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