On Form

Working with pearls—particularly baroque and keshi—means working with irregularity. Shapes are not symmetrical, surfaces are not uniform, and no two elements behave in exactly the same way.

Rather than correcting this, the design process begins by observing it.

Some pieces follow a more restrained approach—simple studs or minimal drops that allow the pearl itself to hold attention. Others explore contrast, pairing irregular forms with structured elements, or offsetting balance through asymmetry.

There is no single direction. Instead, the collection moves between simplicity and statement, depending on what the material suggests.

Proportion plays a central role. A slight shift in length or spacing can change how a piece sits on the body. Movement is also considered—how a drop responds as it’s worn, how light catches the surface of the pearl.

The aim is not to impose a fixed idea onto the material, but to work alongside it.

In this way, form is not designed in isolation. It emerges through a series of small decisions—guided by the natural characteristics of each pearl, and refined through the making process.