Cover Isabella Traglio is the head of design and R&D at jewellery brand Vhernier which was recently acquired by Richemont (Photo: courtesy of Vhernier)
Isabella Traglio is the head of design and R&D at jewellery brand Vhernier which was recently acquired by Richemont (Photo: courtesy of Vhernier)
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From polishing jewels in a tiny Milan boutique to pioneering titanium and aluminum at the bench, the head of design and R&D at jewellery brand Vhernier shares how protecting the brand’s DNA, obsessing over materials and listening to instinct over trends is shaping the maison’s next chapter
Isabella Traglio has never chased a trend in her life, and that, she’ll tell you, is exactly the point. As head of design and R&D at Italian jewellery maison Vhernier, her most radical act has been pioneering titanium at the bench and coaxing aluminium into architectural new forms with unwavering refusal to let the brand become something easier.
In a candid conversation, Traglio traces her journey from back-office observer to creative guardian—and explains why, in high jewellery, the greatest risk is losing yourself.
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Above Calla necklace in ebony and rose gold (Photo: courtesy of Vhernier)
Calla necklace in ebony and rose gold (Photo: courtesy of Vhernier)
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As a university student, you worked in the back office of the Vhernier flagship in Milan; was there a piece that sparked your passion for design? How has that moment shaped the bold, sculptural aesthetic you champion today as head of design?
I clearly remember the first time I saw the Calla necklace; its bold, continuous form, with no beginning and no end, felt like pure infinity to me. That single design showed me how powerful a strong, sculptural idea can be when it can live across volumes, materials and categories, from necklaces to bracelets, rings and earrings, while still remaining unmistakably itself. The Calla taught me what true brand DNA looks like, and that lesson still guides every decision I make in design and R&D today.
What have your experiences outside of Vhernier, which includes gemology training in New York, taught you in regard to artistry and business?
The most important lesson was to stay relentlessly curious and to keep questioning whether the bar is high enough, no matter how much experience you gain. At the same time, those early roles taught me never to let other people’s insecurity diminish my vision, which is essential when balancing creative risk with the realities of business in high jewellery.
What are some of the innovative techniques or materials that continue to define Vhernier’s collections?
Working with titanium was a turning point; we were among the first to use it in fine jewellery. In the early years, we wasted huge [amounts] of metal just to reach the level of quality Vhernier demands. [We had to learn] to master titanium’s “memory”, [where] once you melt it, it doesn’t go back if you make a mistake. And actually, with one of our latest collections, we brought back the metal we started to use six years ago, aluminium—but after six years, we started again as if it was the first time, because new technologies, new colours and new ways to treat the surface have opened up a future where lightness, volume and bold scale can coexist in ever more architectural ways.
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Abbraccio earclips in white gold and full pavé diamonds (Photo: courtesy of Vhernier)
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The Abbraccio collection, launched in 1994, is known for its “embrace” design. Why is the design still relevant today?
Abbraccio is timeless because it combines generous volumes of gold with refined material evolutions, from pink gold to non-rhodium-plated white gold with diamonds—something very specific to Vhernier. Over time, we’ve introduced midi sizes; an extraordinarily complex bracelet that took more than 35 prototypes; and new executions in titanium and gold to reflect how today’s women live more sportily—all without diluting the original design.
For collectors eyeing timeless pieces amid fleeting trends, what one Vhernier design would you urge them to acquire?
Rather than naming a single jewel, I always look at the person in front of me and ask which piece truly “belongs” to them, because you can feel when a jewel is wrong on someone. That said, Abbraccio has a kind of [universal] magic—its wide, embracing gold surfaces seem to work on almost everyone, which is why it so often becomes that deeply personal, long-term piece in a collection.
What’s the biggest risk Vhernier has taken during your time at the brand, and what daring move are you plotting next?
The real risk would have been to change who we are; the most courageous decision we made was refusing to compromise on Vhernier’s DNA, quality or Italian manufacturing, even when some voices pushed for an easier, more “commercial” direction. Personally, future moves are never about risk but about opportunity: as long as we remain utterly ourselves, every new material, market or idea is simply another chance to express that identity more powerfully.
As the Regional Editor for Watches and Jewellery and Editorial Content Lead for Tatler GMT, Amrita Katara specialises in luxury watch and jewellery coverage across Asia, with expertise in editorial strategy, feature writing and interviews with industry leaders. Her past roles span luxury lifestyle media and client partnerships. Based in Mumbai, Amrita’s work bridges global trends and Asian market insights.
