The Language of Form
London-based designer Estelle Dévé on thoughtful gifting, the rhythm of running an independent jewellery studio and the ever-evolving philosophy of adornment.
Words - Estelle Dévé
Photography - Sophie Stafford
I’ve always found that I communicate better through making things rather than talking about them. Designing jewellery, or small objects more broadly, allows me to translate thoughts and references into something tangible. I’m naturally drawn to working in three dimensions: it’s the most intuitive way for me to express ideas.
I’ve been working in the jewellery industry for over 20 years in a variety of roles. Alongside running my own studio, Dévé, I’ve also worked as a consultant for numerous jewellery brands, which I continue to do today.
Earlier in my career, I worked with brands that focused heavily on profit margins, sometimes at the expense of transparency and responsibility. While I understand the importance of business considerations, ethical production is something I take very seriously.
“For me, it’s about respecting the entire supply chain. I want to know where things are made, how they’re made and that the people involved are treated fairly.”
My manufacturing partner is a B Corp-certified factory in Thailand, where workers are paid well and receive benefits such as maternity leave and paid holidays, conditions that are unfortunately not standard across the industry.
The Two Metres, Five necklace was the first piece I designed when I launched Dévé in 2021. Its form is inspired by classic Cartier lighters, as well as the work of Walter De Maria, particularly his installation The Broken Kilometer.
De Maria’s work explores repetition, geometry, and layered meanings: something I wanted to translate into an object that is both sculptural and functional. The pendant is a ridged, tubular form that can hold a small lighter or other personal objects, giving it a dual purpose.
On a more personal note, the idea also came from a very practical habit: I smoke, and I was constantly losing my lighter. Designing something I could wear around my neck felt like a natural solution, blending utility with design.
I’ve been working in jewellery for over two decades, although my background is actually in business. I’ve always been drawn to creative work, but I graduated just before the global financial crisis, when jobs were scarce.
“What began as a practical decision quickly turned into a long-term creative journey, shaping the way I approach both design and business today.”
During lockdown, I lost all my consulting contracts and suddenly had more time than I’d ever had before. It felt like the right moment to create something that was entirely my own. My studio is a true reflection of my taste: what I personally want to wear, as well as the photography, art, and aesthetics I’m drawn to. It’s also deeply influenced by my Mediterranean upbringing; in many ways, it’s an ode to where I come from.
It sounds cliché, but no two days in the studio are ever the same. Running a business means wearing many different hats.
Some days are focused on design (although not as often as I’d like), while others are spent on more operational tasks like invoicing, managing production or consulting for clients. I’m also involved in creative direction, website design and managing the social media. It’s a constant balance between creative and commercial responsibilities.
While I do sometimes gift my own jewellery, it can feel a bit like cheating. What I really enjoy is the idea of someone else choosing one of my pieces as a gift, knowing it might hold meaning for both the giver and the recipient and bring them joy.
“I love giving gifts. I keep notes throughout the year of small things people mention or like. I find a lot of joy in choosing something thoughtful.”
When I was a child, my parents used to make some of my Christmas presents by hand. At the time, I didn’t always appreciate them because they weren’t the latest toys.
One that has stayed with me is a desk my dad made when I was around eight. It was shaped like a spiral notebook, with legs like pencils, and had hidden compartments. Looking back, it’s those gifts, the ones that required time and care, that I remember most, far more than anything mass-produced.
I’m currently working on a collaboration with my friend Jac, who runs the brand Ruadh in New York. I wear her clothes almost every day, so it felt like a very natural partnership. We’re developing a series of pieces together that will launch in September, and it’s been really exciting to merge our worlds in a meaningful way.
I really admire what COLFORD does - the attention to detail and the care put into the work. It’s always a pleasure to collaborate with people who share that same level of thoughtfulness.
COLFORD and Dévé collaborated on a recent spring gifting drop, with the Two Metres, Five necklace presented in custom drawer style gift boxes handcrafted in the UK from FSC-certified board and cool blue paper for a fully recyclable packaging scheme.