Her work strikes a careful balance between clean European minimalism and the more expressive, ornamental aesthetics of South America. Of the latter, it’s Pre-Columbian jewelry—that is, the ancient adornments of Indigenous peoples across the Americas before the sixteenth century—that captivates her most. The bold and architectural forms of Pre-Columbian nose adornments, for instance, have directly informed some of her most recognizable designs: the tubular, open-ended Core ring, punctuated by pear-cut diamonds on either end; the disk-shaped Dossier ring; and the Luma earrings—a series of slender, hoop-like earcuffs in different sized oval and circular silhouettes that, when layered, rapturous helix that spirals up the ear.

The stick-like closure of the Chika hoop earrings is similarly influenced by tribal design, if more modern iterations. The sticks come in various styles that you can buy individually—some in pure gold, others finished with a single turquoise, emerald, or ruby gemstone—and interchange whenever the mood strikes.

Take the Dossier cutout ring, which features an asymmetric slash that gives the illusion of two rings in one, with side-set diamonds of one half facing the glossy, unadorned side of the other. The result sparkles with the diamonds’ mirrored glints, creating an indirect, incandescent light that’s hard to come by. You’ll find that same indirect light—just multiplied tenfold—in the Spring bracelet: a series of oval flat-sided gold wheels, with diamonds on one side and high-polished finish on the other, linked together with just enough space between them to refract and release a brilliant, preternatural glow.