Stéphanie Roger

After standout years at Cartier, Chaumet, Dinh Van, and Chloé, Stéphanie Roger founded WHITEBIRD in 2010 to champion jewellery that is free, contemporary, and full of soul.

In her discreetly charming Paris boutiques, halfway between an intimate gallery and a family home, she curates worldwide designers with a confident eye, guided by emotion rather than trends.

With We by WHITEBIRD, her in‑house collection launched in 2017, she creates colourful and enduring jewellery that reflects her vision: sincere, vibrant, accessible luxury.

On the occasion of launching two new We by WHITEBIRD collections, Simone & Rosa, she speaks to us here about her journey, inspirations, passions, and the encounters that have shaped her over the past fifteen years.

1. Driven by instinct

You worked for renowned maisons like Cartier, Chaumet, Dinh Van… What stands out for you from those years? Why jewellery?
Early on, it wasn’t jewellery itself that drew me, but working in Paris and within the luxury sector. I started out on Cartier’s tableware, then went into watchmaking with Piaget and Chaumet. It was only when I joined Dinh Van that I truly fell in love with jewellery. Those years in such esteemed houses were fascinating – I learned everything about products, even though I had no knowledge of jewellery straight after my marketing and commerce studies.

In 2010, you launched WHITEBIRD. What was the spark? What did you want to do differently?
I had been interested in designer jewellery for some time. My travels introduced me to more creative, sensitive universes and passionate, living designers. At 45, after a couple of unfulfilling years at Chloé, I felt I needed to do something that felt truly mine. I’ve often made decisions by intuition, and this was one of them!

2. The We by WHITEBIRD Adventure

In‑house brand “We by WHITEBIRD” began in 2017. What does the collection say about you and your vision of jewellery?
Initially, I wanted to respond to growing demand in our boutiques: simple, well-made pieces that fitted the times (mini hoops, fine bands, delicate chains with small motifs etc). Our designers didn’t specialise in that kind of piece, so I felt we needed to make it ourselves. That’s how everything started. Our first pieces were for women signing up for our in-store piercing sessions, also introduced in 2017.

How do you develop the collections?
At first, I developed them solo, sketching little designs, sending them to our workshop, and we understood each other perfectly. To this day, that’s still how I create the new pieces that complement each collection. Later, I wanted something more sophisticated, an engagement ring (Aurore) or cocktail ring (Grace) and worked with a designer who did the technical drawing.

Tell us about the inspirations behind the two new collections, Simone & Rosa.
For these two new collections, I chose to entrust the project to Camille Toupet, with whom I had previously collaborated during my time at Dinh Van. I wanted to open a new creative chapter for We by, while preserving the details that have defined the brand since its inception: colour, the contrast between matte and polished finishes, and the uniqueness of each stone and texture.

The Simone & Rosa rings are like two close friends: they share many similarities, yet each asserts her own personality. They carry forward the spirit of the Diana ring, which inspired them. Diana is a minimalist ring with a coloured centre stone, framed by small diamonds on a fine band.

At first glance, Simone & Rosa follow the same structure. But look closer, and you’ll see subtle contrasts creating harmony. Rosa features a smooth cabochon, while Simone opts for a faceted stone. The diamond setting becomes more intricate: a colour gradient for Rosa, tiny coloured cabochons punctuating Simone’s. The ring band is no longer a simple wire — it widens, with a play of matte and polished effects, unique to each design.

Rosa’s cabochons are made of slightly opaque stones — jade, carnelian, pink opal — while Simone’s faceted ovals explore transparency — moonstone, aquamarine, prehnite.

Both styles are also available as earrings, necklaces and earcuffs, each reflecting their signature palette and distinctive settings.

3. Lifestyle

You spend time on Île d’Yeu and live in Paris—two distinct places, two rhythms. What does each bring to you?
Île d’Yeu brings me close to nature and the sea, which is profoundly rejuvenating. I garden a lot, it soothes me and gives great satisfaction. I spend my days walking or cycling, discovering paths that always lead to the sea. I'm an early riser and love swimming alone at dawn. I love Paris! Its vibrancy, beautiful architecture, gardens, cinema, and friends, but after a few weeks I start to feel overwhelmed.

When you step away from work, what inspires you? What makes you happy?
Gardening on my little Paris terrace or on Île d’Yeu, sport, and ceramics—which I began this year, and which reminds me of my love of cooking. I also love family or couple travel, immersing in new places, being one with nature, hiking, good food, reading in the sun, the sea.

4. Jewellery as encounter

You’ve met designers worldwide since 2010. Is there a particular encounter that stands out?
Most discoveries have been unique and extraordinary. I often met designers before they were known—presenting their first collections perched on a table in a tiny showroom or on a hotel bed during Paris Fashion Week. Charlotte Chesnais, Bibi van der Velden, Pippa Small, Sophie Bille Brahe, Fernando Jorge, among others, who are now almost stars, winning awards and opening stores. I treasure the memories of our first meetings.

And if you had to pick three current favourite designers?
It’s hard from over 60, but right now: Nadia Shelbaya, Francesca Villa, and Talkative, which we’re launching soon.

Which jewellery pieces never leave your side, and why?
Two Dorette rings, a small Noguchi ring, a We by necklace and a Wwake, my two Dinh Van bracelets, two Brooke Gregson bracelets, and small dangling Sia Taylor earrings. I always wear them (sleeping, showering, exercising, swimming) and often add an LAH necklace, Talkative earrings, and a small fish by Pascale Monvoisin. They were mostly gifts from the designers, so they hold sentimental value and go with everything. I don’t spend much time getting ready in the morning; these pieces form my base, and then I might add one or two bolder “in the moment” items, or nothing at all.

5. The boutique as heartbeat

You remain very present in the boutiques, advising customers and watching their gestures… Why is it important for you to keep that direct link?
Since I choose almost every piece, it’s a great joy to talk about them with people who love them as much as I do, helping someone find the one that suits their style. When they buy it, I’m delighted to have made the right choice and feel I’ve shared a little of myself with them.

You often host trunk shows. What do you love about that format?
I love that people meet because WHITEBIRD is a deeply human story. It also allows for a much wider selection in-store, showing pieces I myself wanted to acquire but couldn’t due to budget.

Your first boutique is nestled on rue du Mont Thabor. What drew you to that street? I’ve always adored it, especially when Maria Luisa was there.

I also frequented Balli Baret. It’s always been a creator’s street, more so now, known to insiders. Right by Paris’s luxury heart—Chanel, Dior, Vuitton, Place Vendôme, Rue de la Paix—yet it feels like a small village where shops and restaurants know and pass by each other every day.

And for your three Paris boutiques, how did you choose their locations? What makes each one unique?
For the Haut Marais, it felt like an obvious choice. It’s a neighbourhood full of renewal and creativity, even if it’s not traditionally known for jewellery.
We opened there shortly after Merci, APC and BONTON. Then came Soeur, Ami, Acne and Kitsuné. Even today, it remains a slightly offbeat part of the Marais — our neighbour is still a long-standing professional photography equipment shop.

As for rue des Saints-Pères, it was more of a personal crush on the space itself. It used to be the vintage jewellery boutique Karry’O, which I loved and which was a real reference point for collectors and the press. When I heard it was available, I didn’t hesitate — especially since we’d been looking for a Left Bank address.

10. What are your plans for the next chapter of the WHITEbIRD story?
Not changing a thing — just continuing to unearth hidden gems and introducing them to their future owners 🙂
This month, we’re also launching our second-hand offering, a project I’ve had in mind for quite some time. We’re taking back pieces from our own designers, as we can authenticate them and date them with precision. It’s both a service for our long-standing clients — many of whom have substantial collections they’d like to rotate — and an opportunity for new clients to access gold jewellery at more accessible prices. This new activity makes even more sense now, as the rising cost of gold is significantly impacting the price of newly produced pieces.

And to finish, the ritual mini portrait chinois:

If I were a piece of jewellery: A ring, without question
A stone: All of them
A flower: Hydrangea
A scent: Rain on a hot summer road
A dish: Cherry clafoutis (with the stones in!)
A guilty pleasure: Flea markets in the French countryside
An artist: Aelle, a sculptor I recently discovered in Bourgogne
A fashion designer: Lemaire, forever
A country: I dream of travelling through Iran one day to discover its culture, landscapes and people — ideally on horseback… I’ll have to wait a little longer.