In Conversation with Whetstone Jewellery: An Interview with the Co-Founder Zoe Zhang

At the heart of Whetstone Jewellery lies a profound philosophy: transformation through tension. Taking its name from the sharpening stone used to refine a blade, Whetstone explores the evolving relationship between adornment and identity. Each piece speaks to quiet strength and sculptural clarity, reinterpreting historical motifs with minimalist design and emotional intensity. The brand’s hallmark is a precise aesthetic merging fluid lines, balanced structure, and tension settings that reflect a deep reverence for form, craftsmanship, and storytelling. Founded by designers Yiru Zhang and Zoe Zhang, Whetstone Jewellery brings together their distinct yet harmonious practices. Yiru, a Royal College of Art graduate with a background in gemmology, is known for her conceptual approach and curatorial projects that highlight contemporary jewellery’s narrative power. Zoe, a Central Saint Martins alum and founder of Fluffy Zoo Tattoo, brings her experience as both a designer and tattoo artist, crafting bold silhouettes that express both restraint and emotional resonance. Together, they challenge traditional notions of adornment, infusing each piece with symbolic tension and tactile elegance. 

What drew you to jewellery design, and how long have you been creating? 

Photo by Zoe Zhang

I’ve been making jewellery for about five or six years. My first encounter with contemporary jewellery was in China when a friend introduced me to it. I was struck by how sculptural it was – it wasn’t just about rings or necklaces, it was art for the body. That moment really changed how I viewed jewellery. I started exploring more galleries in Beijing, then went on to do a foundation and later a BA in Jewellery Design at Central Saint Martins.

What was your experience at Central Saint Martins like? 

CSM was formative. It offered amazing opportunities, including industry placements, and internships which is how I ended up working with Alsolike, and then starting Whetstone with Yiru. We also had access to inspiring lectures by practising jewellers, and being in London exposed me to a diversity of styles and people. It completely opened up my perspective.

Do you have favourite materials to work with?

I love working with silver, and I wear silver jewellery the most. Silver has a modest and soft quality compared to gold, and it offers plenty of room to experiment with different finishes. Our brand combines various finishing techniques on each piece, which brings out the details and shape of the jewellery more effectively. I also work with brass and, less frequently, materials like stainless steel and titanium, which are harder to access and manipulate. An unconventional material I’ve enjoyed working with is silicone. I once used it to preserve decaying flowers. As the flowers died inside the clear silicone, they retained their form. It was poetic...something I’d like to explore again. I want people to feel something when they wear the jewellery, not just see something beautiful.

Where do you draw your inspiration from?

I’m inspired by metaphors and how they can be embodied through material. Our spoon ring collection, for example, is based on antique 17th-century spoon rings. Historically, these rings were made by servants who couldn’t afford silver and instead steal them and fashion them into rings for their lovers. If caught, they were exiled. Today, spoon rings are often marketed as romantic, but I found that narrative problematic. I wanted to reframe it, not as sacrifice for love, but as a symbol of self-reliance and strength. Most of my work begins with strong emotions and channels that energy into the design.

Do you have a favourite piece you’ve created?

Photo by Zoe Zhang

Definitely the reimagined spoon ring. It's minimal but carries a heavy story. I stripped away the ornate detailing to reveal the essence of the form. The brushed finish, achieved through varying levels of sandpaper, gives it texture and movement. I also love a bangle I created in a similar style with its minimal, yet very expressive surface.

Who would you say your influences are? 

Emmy Van Leersum and Gijs Bakker were the first two jewellery artists who inspired me the most when I first stepped in jewellery world. Back in the 1960s and 70s, they challenged many traditional ideas about jewellery –how it’s worn, the materials used, and the underlying concepts. Their designs feel more like a dialogue with the body, which really resonated with me as someone just starting out in jewellery. I’ve learned from their work how simple lines, shapes, materials, including space and size, can work together harmoniously to clearly communicate ideas to viewers. Their

influence continues to shape how I observe and think about the relationship between jewellery, form, and the body’s space.

Do you use precious stones in your work? 

Not often. I didn’t work much with stones during my studies or in this collection. I did a project about how much I dislike diamonds. I explored the concept of perception. I used lenticular print to make an image of a large diamond and an asshole, and depending on the angle, it would shift between the two images. I think stones should only be used when they help convey a message; otherwise, they’re just decorative.

What direction do you see your work heading in?

We don’t design with the customer in mind, instead, we follow what excites us and reflects our core values. If you start making jewellery just to please others, it stops being your own. We want to keep creating from that place of authenticity.