How did the name Days of Ever come about?
Days of Ever sits between the transient and the lasting. The word “Days” reflects fleeting moments, while “Ever” speaks to the enduring. And it’s appropriate how it all comes together with the softness of “Doe”.

How did you develop a fondness for jewellery?
I’ve always collected small things — a stone, a piece of metal, something that reminded me of somewhere I’d been. I didn’t realise it then, I think I was learning how to notice, how to hold a moment by keeping a fragment of it close. Looking back, my fondness for jewellery began in the same way. I still remember the first piece I ever felt attached to, a necklace my grandfather gave me. Since then, I’ve collected jewellery and objects in the same way: pieces that carry sentiment and form that feels meaningful.

As objects of sentiment, what’s a piece of jewellery that holds special meaning to you?
The Valley of the Moon Necklace. There’s a place in northern Chile where the desert looks like the surface of the moon. Valle de la Luna, or The Valley of the Moon, features all red clay dunes, wide open space, and a stillness so vast it makes you quiet without trying. It felt like another planet: still and surreal, yet grounding. I took a lot of photos of the light, texture of the earth, and the shadows that moved slowly across the dunes while I was there. In all that stillness, I felt incredibly small, but also grounded.

That memory shaped the necklace — the undulating landscape of the dunes and the moon hanging like punctuation in the sky. It’s a piece that carries a place I never wanted to forget.

You also have a background in spatial design. How does that inform the way you appreciate jewellery?
In spatial design, we consider how a person moves in a space. With jewellery, that awareness becomes more intimate. Instead of moving through a space, the form moves as a part of you. It made me see jewellery as more than aesthetics, to notice how a piece expresses itself through movement, how its geometry reads from every angle, and how something drawn flat in 2D becomes an experience with 3D.

What are the biggest differences and similarities between these two disciplines?
Both disciplines rely on form, proportion and intention. I think scale and intimacy sit on opposite ends. Spatial design is expansive; jewellery is the inverse. In spaces, you design for many. In jewellery, you design for one. The relationship becomes personal. A piece sits on someone’s skin and becomes part of their daily rhythm. That shift in scale changes the emotional weight of the process.

 

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What does your jewellery design process look like? Is it unique every time?
It’s mostly abstract. The process always begins with a feeling or a memory I want to explore. From there, it shifts into something more tangible — messy notes, moodboards, sketches, and eventually into 3D modelling.

I prototype everything. I print the forms, test the weight, and refine the curves. Some pieces fall into place quickly, some take months to refine. The process is never identical, but the starting point is always the same — an emotion or a moment I’m trying to understand through form.

Could you share with us a piece you’re most proud of designing and why?
The runway set for In Good Company, Girl with Everything.

It pushed me technically and emotionally. The scale, the structural complexity, everything demanded a different level of refinement. Beyond its difficulty, it was the first piece that helped me understand my own design language more deeply. It felt like a culmination of all the forms and ideas I had been exploring, finally made visible on a runway.

What I loved most was its modularity, how it could be worn in three different ways, each with a distinct silhouette and mood. I didn’t want to create something bold just for the sake of the runway; something that lived only in that moment. I wanted it to be sculptural yet wearable, expressive yet functional. And somehow, I managed to hold both. That balance made it a piece I’m proud of.

How is the design process different for a collaborative project like this?
With In Good Company, the garment becomes the starting point. I studied the silhouette and its movement, then found the rhythm where jewellery can complement or extend that language.

The runway scale also opened up a different kind of freedom. Our Doe pieces could be larger, bolder, more sculptural. It allowed me to explore forms I wouldn’t normally attempt in an everyday wear collection. And there was a lot of trust. Sven gave me the space to create what I felt was right, and that made the process feel expansive in the best way.

What’s the biggest challenge you have faced so far in crafting your jewellery brand?
Translating an idea into something that can exist in metal. Finding the right balance between artistry, wearability, and quality is an ongoing learning process. It’s a process that requires precision, problem-solving, and sometimes compromise. And behind it all, there’s the determination to keep the form honest to the original intention.

Last but not least, what’s one piece of advice you would give to someone who is starting to curate their personal jewellery collection?
Experiment, play, and try things on. Let yourself be surprised.

Once you are done with this story, click here to catch up with our December/January 2026 issue.