Bridging Words and Cultures Through Jewelry: An Interview with VERBA at Interior Lifestyle Tokyo 2025
- Mugen Links
- Jun 30
- 7 min read
Updated: Jul 5
Latvian jewelry brand VERBA is renowned for its minimalist, literary-inspired creations that transform words into wearable art. During Interior Lifestyle Tokyo 2025, we had the opportunity to sit down with founder and designer Anna Fanigina for an inspiring conversation about her creative philosophy, the stories behind VERBA’s collections, and her vision of jewelry as a bridge between cultures and eras. As we explored her artistic journey, Anna shared her thoughts on craftsmanship, femininity, nature, and the special resonance she feels when presenting her work in Japan.
Interview with Anna Fanigina (VERBA)
VERBA’s name comes from the Latin phrase “adbibere verba puro pectore” — “to accept words with a pure heart.” How does this philosophy shape your creative approach?
Anna: Our designs are as simple and honest as possible — minimalistic and “open-hearted.” The phrase or text is the essence of the piece. I’d even say VERBA creations are not typical jewelry, but rather carriers of thoughts — gentle reminders to oneself or messages from one person to another.
They tend to attract people who value sincerity, natural materials, and avoid imitation. As for the choice of words — it’s quite intuitive. We search through ancient literature for phrases we ourselves would want to wear or give as a gift. It’s a very personal and human process.
You mention that VERBA’s pieces are like “carriers of thoughts.” How does this focus on words and meaning connect with your experience presenting your work in Japan, a culture also rich in symbolism?
Anna: When presenting our work in Japan, this connection is especially remarkable. We often discover how similar our seemingly distant cultures are — a love of nature, kindness in human relationships, a quiet introspection, and poetic sensibility.
Our SAKURA collection had a Japanese subtitle 万里同風: “One wind across a thousand miles” — an ancient metaphor for peace.
Our jewelry, like sakura petals, travels across cultural contexts, connecting people.
I’m especially drawn to the clarity and order of Japanese aesthetics — including the purity of lines. There is always something to learn from this culture.
Many of your collections are inspired by ancient literature. When it comes to selecting texts for your jewelry, such as in the Analemma collection, how do you decide which words to bring into your designs?
Anna: Often, a phrase appears unexpectedly — you come across something beautiful and meaningful in your reading and immediately add it to your “collection.”
But for Analemma, we specifically searched for texts about the Sun, since the first piece began with a quote from Cicero (Roman philosopher and orator).
Finding the Hymn to the Sun was a treasure — every line is like a separate quote that can warm the heart, inspire reflection, or simply bring joy.
The sun is such a powerful symbol across cultures. Can you tell us how that idea evolved into the Analemma jewelry pieces we see today?
Anna: The first Analemma pieces — the sun’s path necklace and a red circle pectoral with the hymn — were created for a collective jewelry exhibition in Latvia, just before the summer solstice in 2019.
I loved working with red transparent acrylic — a color you can’t find in natural stones — and decided to continue developing the line in a way that would be wearable and relatable.
The Sun is a universal concept, meaningful in all cultures. I’ve enjoyed researching ancient solar cults — in Egypt, Greece, Rome, and along the Baltic coast.
Presenting this collection in Japan — the Land of the Rising Sun — feels especially significant, as the central goddess in Shinto is Amaterasu, the goddess of the Sun.
While Analemma looks to the skies, Ursis feels very grounded in nature and myth. How did the bear become a central figure in that collection?
Anna: The bear entered my work through myths, ancient bear cults, folk tales of bear-men, even through Jim Jarmusch films.
To me, the bear is a mediator. In myths, it connects gods and humans — and in the modern world, it still carries emotions, good wishes, love. It becomes a kind of alter ego, a wise little friend with a sense of humor.
In this collection, I use an old technique — “image under crystal” — which was once used in icon painting to add depth and expression. The rock crystal, symbolizing purity, makes the bears come alive — as if they look straight into your soul.
Nature clearly plays a meaningful role in both Analemma and Ursis. Given that, do you feel a particular connection to the Japanese way of integrating nature into design?
Anna: Nature is a vital source of meaning and energy for me. I live close to nature and witness its beauty every day — it brings me great joy and grounding.
In the Analemma collection, nature is reflected in the movement of light, in cycles, in solar imagery. I wanted to capture not only the physics of the sun but its poetry — as a universal source of life.
In Ursis, nature lives through the archetype of the bear — wild, wise, and deeply feeling. Through animal imagery, we reconnect with something natural within ourselves.
I deeply relate to the Japanese ability to find greatness in the small — a leaf, a shadow, the wind. This delicacy and reverence for the natural world resonate strongly with VERBA’s spirit, where everything is built around nuance, sensation, and pause.
Beyond nature, VERBA also emphasizes diversity and feminine energy. How do these values come through in your creative process?
Anna: The diversity of our collections and themes already speaks to this. A Latin phrase we sometimes engrave on earrings comes to mind: variatio delectat — “variety delights.”
Creating our jewelry requires cultural exploration on our side, and invites the same from our wearers.
At the heart of the brand is feminine energy: VERBA is crafted mostly by women, with soft, tactile forms. Like the Moon reflects the light of the Sun, our jewelry reflects the light of distant eras through timeless quotes.
We also have a special collection inspired by female figures from ancient Roman frescoes: “Your name is unknown to me, but I see the goddess in you” (Ovid).
Much of your work draws on ancient philosophies and literature. What does working with these texts reveal to you about connections between people
across time?
Anna: Creating jewelry with quotes from ancient philosophers and poets, reading Latin and Ancient Greek dictionaries — this is a way to understand how those people lived and what they felt.
Over time, you begin to sense a kinship — realizing we haven’t changed that much. You find emotional resonance and ancient wisdom. That emotional connection is the bridge.
Speaking of connections, what are you most looking forward to sharing with visitors here at Interior Lifestyle Tokyo 2025?
Anna: Strangely enough, what I most want to share is my love for Japanese culture — something we deeply value and admire from afar in Latvia.
Even though the Analemma (...) and Ursis (...) collections weren’t created with Japan in mind, I can clearly see its influence in them now — and I’m delighted that visitors notice it too.
I’ve already heard many joyful “Kawaii!” exclamations at my booth — and that makes me truly happy.
After more than two decades with VERBA, what keeps your creative spark alive?
Anna: People inspire me — their inner light, their search for meaning, for love. Every time I see someone choose a VERBA piece as a personal symbol or a meaningful gift, I feel a deep sense of purpose.
Words and texts also remain a constant source of inspiration. Ancient literature, philosophy, and poetry are inexhaustible wells of wisdom. I keep reading, discovering new ideas — and each time it feels like a first breath.
With time comes not fatigue, but rather a growing inner freedom. Today, I allow myself to create collections that are not dictated by the market, but arise from quiet inspiration within.
That connection between tradition and innovation seems key to VERBA’s identity. How do you personally approach balancing classical craftsmanship with contemporary design?
Anna:To me, this is not a contradiction but a natural union. I use classical jewelry techniques when working with silver and gold — forging, soldering, polishing — but I strive to speak in a contemporary visual language: clean lines, minimalism, and ideas at the center.
It’s important to respect materials and techniques, yet not become stuck in the past. For example, in Analemma, I used red acrylic glass — a modern material — but when combined with ancient texts and symbols, it revealed new depth.
I love contrasts: between the eternal and the momentary, the ancient and the present, handcrafted warmth and minimalist form.
Finally, are there aspects of Japanese craftsmanship or culture that feel especially aligned with VERBA’s philosophy?
Anna: I’m deeply inspired by the Japanese attitude toward objects — respectful and contemplative. The idea of mono no aware — the gentle sadness or beauty of things passing — feels very close to VERBA’s philosophy. We also speak of tenderness toward the world, memory, and time.
The culture of Japanese craftsmanship — with its attention to detail, process, and the hand of the maker — commands my admiration. It’s a path that requires humility and focus.
I also resonate with a consumer culture that values moderation, silence, and meaning. It’s a joy to think that VERBA pieces might find a home in such an environment — among people who seek not effect, but essence.
Bringing Words to Life
As Anna Fanigina’s thoughtful words reveal, VERBA is more than just a jewelry brand — it’s a dialogue between past and present, between cultures and individuals. Through ancient texts, natural forms, and minimalist design, VERBA invites wearers to carry fragments of history and personal meaning close to their hearts.
At Interior Lifestyle Tokyo 2025, that dialogue found a fitting home, resonating deeply with a culture that also values nuance, craftsmanship, and emotional connection. In VERBA’s world, jewelry is not just decoration — it’s a story waiting to be shared.
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