Naomi Campbell for Vogue Brazil, May 2013

In May 2013, British supermodel Naomi Campbell anchored Vogue Brazil’s anniversary-season pages in a jewelry-forward editorial photographed by Jacques Dequeker. The images collected here belong to that historical cover-and-story moment—not a current campaign, not a product launch, and not a general Naomi career roundup. They document a specific magazine issue from spring 2013, when Campbell’s long-running status as a fashion permanent still made national Vogues compete for her presence.

File the date carefully. Fashion media moves quickly; magazine history does not. This gallery is a dated artifact from Brazilian Vogue’s May 2013 cycle, when anniversary energy, jewelry stories, and a global supermodel collided on newsstands and blogs within days of each other.

May 2013: anniversary energy in Brazilian Vogue

Vogue Brazil’s May 2013 issue arrived as a celebration package. Contemporary fashion coverage noted that Campbell appeared across multiple stories for the magazine’s anniversary moment—often described around a 38th-anniversary frame—working with different photographers including Tom Munro and J.R. Duran alongside Dequeker. The Munro cover image—Campbell in a blonde wig and swimsuit with white jewelry—traveled quickly through international blogs. Inside, Dequeker’s jewelry story gave a different register: sensual, close, and ornament-led.

That split matters for reading this gallery. What you see below is the Dequeker chapter: skin, metal, stones, and Campbell’s famous control of pose. It is fashion history filed under a precise credit line, not a collage of unrelated Naomi shoots from other years or other titles.

Anniversary issues often chase stars who can carry both cover shock and interior craft. Campbell could do both. She had already spent more than two decades proving that supermodel charisma survives trend cycles. Brazilian Vogue using her for a multi-story moment was less discovery than affirmation: the magazine wanted international voltage, and Campbell supplied it without needing a novelty biography.

Jacques Dequeker and the jewelry brief

Dequeker, a Brazilian fashion photographer known for polished commercial and editorial work, framed Campbell for a story often titled around jewels—“Vogue Jewels” and related “power woman” jewelry narratives in contemporary recaps. The brief is visible in the pictures: designer jewelry is not a quiet accessory. It is the plot. Necklaces, earrings, cuffs, and high-shine pieces sit against relatively minimal styling so metal and stone can read at magazine scale.

Campbell’s performance fits that brief. She has always understood how to hold still for luxury detail without going inert. Shoulders set, gaze locked or half-lidded, hands placed to echo the jewelry’s geometry—these are craft moves from a model who had already spent decades teaching cameras how to wait for her. In jewelry stories, the model’s job is partly architectural: become a living display structure that still feels human.

Compared with softer beauty stories, Dequeker’s frames lean sensual without becoming chaotic. The jewelry stays sharp. Skin stays luminous. Backgrounds stay secondary. That hierarchy is what makes a jewelry editorial useful to readers who came for the pieces and still stay for the star.

Beauty notes from the frames

Makeup across the story trends radiant and relatively clean: fresh skin, defined eyes, lips that support rather than compete with jewelry. That choice keeps the editorial readable as a gem showcase while still delivering Campbell’s glamour signature. Hair and styling shift between sleek and looser textures depending on the frame, but the through-line is polish, not costume drama.

In 2013 fashion media, a “power woman” jewelry story was also a statement about longevity. Campbell was not being introduced; she was being reaffirmed. Brazilian Vogue placing her at the center of an anniversary issue said as much about the magazine’s international ambitions as about the model’s schedule. Power, here, is less about corporate metaphor and more about presence: the ability to hold a page when the product is literally glittering for attention.

Light favors reflection. Metal needs catchlights; stones need clarity; skin needs enough glow that hard jewelry does not look cold against the body. Dequeker’s lighting keeps that balance. The images feel warm enough for seduction and crisp enough for merchandise fantasy—the classic double job of jewelry fashion photography.

How to look at this gallery

Move slowly. Jewelry editorials reward attention to scale: how a cuff sits on a wrist, how a collar frames the face, how reflection on metal becomes a second light source. Notice crop choices—tight beauty frames versus longer body lines—and how Dequeker uses negative space so the pieces do not drown.

Compare these images mentally with Munro’s blonde-wig cover from the same issue if you know it. The cover was a high-contrast celebrity splash designed for newsstand distance. The Dequeker story is closer, warmer, and more object-driven. Together they show how one star can serve multiple magazine jobs in a single month without repeating the same pose vocabulary.

Also notice what this gallery is not doing. It is not ranking Campbell’s best covers. It is not updating her biography to the present. It is not selling jewelry affiliates. It is a May 2013 Brazilian Vogue jewelry chapter filed as historical fashion with clear credits.

Why this issue still matters as history

Magazine archives matter because they timestamp taste. In May 2013, Brazilian Vogue wanted anniversary sparkle, international star power, and jewelry as editorial engine. Campbell delivered a face the world already knew how to read, while Dequeker delivered frames that keep the stones and metal primary. Years later, the pictures still work as a record of that bargain between celebrity and craft.

They also mark a moment when fashion blogs recirculated national-edition stories globally within hours. A São Paulo newsstand cover and an interior jewelry story could become international desktop wallpaper almost immediately. The source stays clear: Vogue Brazil, May 2013, Naomi Campbell, Jacques Dequeker.

Credits to keep straight

• Model: Naomi Campbell
• Magazine / issue: Vogue Brazil, May 2013 (anniversary-season package)
• Photographer (this story): Jacques Dequeker
• Story focus: jewelry / “Vogue Jewels” editorial chapter
• Related same-issue work (context only): Tom Munro cover; additional anniversary stories by other photographers

Keep the Munro cover in mental context if you like, then return to these Dequeker frames for the jewelry plot itself—the reason this gallery exists.