By Brenda Díaz de la Vega
Deborah Brett at her home in Ibiza; photo by Sarah Blake.
Deborah Brett in her light-filled London studio. Photo by Sarah Blake for dbCeramic.
Deborah Brett grew up between two very different worlds: a Swiss Alpine village and London. One offered the grounding beauty of nature, the other an immersion in culture. Together, they shaped an early appreciation of aesthetics rooted less in polish than in observation. “It was about the environment,” she says. “The beauty in nature and the way it shapes how you see.”
If her eye was sharpened early, her appetite for fashion followed soon after. Brett’s mother and grandmother were impeccably dressed, elegant without ever appearing studied. Style, she learned early on, could be instinctive rather than prescribed. The pages of Vogue, borrowed from an aunt at the age of 10, offered her first glimpse of fashion’s more aspirational world. Those early magazines remain part of her personal archive today.
Brett’s early professional life unfolded at the height of 1990s British cultural exuberance, when London felt like the center of everything. Working in fashion journalism, she became embedded in the city’s creative circuit, collaborating with photographers, stylists, and designers at a moment when British fashion felt fearless and unfiltered. “The parties were insane; the photo shoots were wild, the people extraordinary,” she recalls. “There was no social media, no Internet, but a whole load of creativity. It was amazing to be in the eye of the creative storm.”
A tablescape featuring DB Ceramics Cobalt Blue collection.
A defining moment came on her first day at The Times, when she was left to run a shoot entirely on her own. “I couldn’t believe it,” Brett recalls with a laugh. “I had to trust my instincts immediately.”
Those instincts continued to serve Brett as she pushed on to explore new creative outlets. The transition was gradual, shaped by motherhood, shrinking editorial budgets, and a desire to reconnect with making rather than managing creativity. Years later, after fully stepping away from fashion journalism, Brett retrained herself as a ceramicist, immersing herself in clay, glazing chemistry, and process.
Today, her DB Ceramics studio is where she feels most herself. There is a deep meditative quality to the work, when her hands are dirty with clay and she can’t reach for her phone. Fulfillment comes not only from the solitude of making, but from sharing meals served on her own ceramics with friends and family. On Instagram, she shares glimpses of studio life through playful reels and behind-the-scenes moments.
At the core of Brett’s philosophy is a belief in craftsmanship as the anchor of timelessness. Newness, she says, comes not from trend but from reinterpretation—how an object is used, how its details are subtly subverted. When asked what she hopes people associate with her work, the answer is immediate: beautifully handcrafted luxury, made with intention.
How would you describe your personal style today, and how it has evolved over the years?
I used to be more of a fashion magpie, more bohemian in style. I loved the Chloé girl aesthetic: flared jeans, a printed shirt, stacked heels, flowing hair. Since I cut my hair short seven years ago, my style has become more androgynous.
The Onna House gallery in East Hampton.
Are there pieces you continue to return to season after season?
Layering is key for me in spring. I love a cashmere sweater, especially one with special detailing, and I often pair it with a silk slip skirt for an easy, elevated look between seasons.
Have you recently discovered an artist or designer who excites you?
I recently discovered the New York gallery Onna House, which focuses on female artists who work in craft, from Jessie Mordine Young’s woven textiles to Katie Grove’s woven sculptures and Leah Kaplan’s textured ceramics.
Heels or flats?
Quirky flats.
Is there a particular fragrance you associate with yourself?
Carnal Flower by Frederic Malle.
What are you most excited about wearing this spring?
No matter the trends, I return to the same spring aesthetic: lightweight linens, like an oversized shirt or a great dress. They’re perfect for warm climates and they only get better with age.
Gondola mules
How does color influence your wardrobe, and does your work in ceramics shape those choices in any way?
Color is always key for me. I have recently moved away from florals and prints and now gravitate toward bold and impactful shades. This season I am drawn to a cherry-tomato red—it works so well with a tan.
With a summer house in Ibiza, does your wardrobe shift when you’re there?
Summer always means a new basket bag. In Ibiza, you can never have too many. I’m also a sucker for sunglasses. They instantly refresh an outfit. I’ll add bold gold jewelry for impact.
Do you have a favorite travel destination where you seek inspiration?
Japan. I adore the quiet charm of Hida-Furukawa, and further east toward the central coast, Kanazawa’s Kenrokuen Garden.
