Working with the past is a challenging task. One thing is to be a historian and study it, knowing all its characteristics, details, and subtleties, and with this knowledge, make something new. Another thing is to actually take a piece of history as it is, take it out of its context, and put it into a new one—contemporary—giving it new life and significance, making it alive again. The challenge is to make it harmonious, to find it the right surroundings and concept. I think Anna Porcu actually did it really well. She creates a dialogue between eras, where neither element overshadows the other. I find her approach deeply personal and poetic. Her ability to merge the past with the present feels fresh and deeply meaningful. The idea that each cameo carries layers of history, from its original artisans to its modern wearer, is compelling and transforms each jewel into a talisman, a deeply personal object imbued with meaning.
Here is her story.
LIJ: Growing up in Tuscany surrounded by art and antiques must have profoundly influenced your work. Is there a specific childhood memory that stands out to you and shaped your journey as a jewelry artist?
Growing up in Tuscany as part of a family of antique dealers deeply shaped my sensitivity to beauty. But above all, I think it was my mother who influenced me the most. She was a bit of a bohemian, eccentric yet incredibly grounded, a passionate lover of art in all his forms and an antiques dealer herself. From a young age, she immersed us in art, letting us breathe it in every day. She also wore her jewelry in a way that was deeply authentic and personal with a special love for big brooches.
I often accompanied her when she designed interiors for clients. I learned early on that when she sold beautiful antique pieces—whether from the 1600s, 1700s or 1800s—the goal wasn’t to fill a room with them but to allow each piece to stand on its own. Often, she advise clients to pair these antiques with contemporary spaces or furnishings, isolating each piece to let it shine. This blending of tradition with modernity created a harmony that I’ve carried into my jewelry.
In many ways, my jewelry reflects this philosophy—the balance of history and the present, a legacy of what my parents, and especially my mother, practiced in her work as an antique dealer and interior designer.
LIJ: Your jewelry design revolves around the cameo. What initially attracted you to this art form, and how do you keep cameos feeling fresh and relevant in today’s jewelry?
I am deeply passionate about art, a love passed down through my family and roots. I studied Art History and Fashion, with a deep love for paintings, whether on canvas or as murals.
A cameo, like a painting or fresco, is figurative and tells a story.
I’m fascinated by the symbols behind iconographies and the tactile beauty of antiquity—the texture and emotion it conveys. A cameo’s figurative quality, its storytelling, and the tactile beauty attract me deeply. It’s like a piece of art you can carry with you. Clients often ask whether to wear a bracelet facing themselves or outward. For me, the answer is instinctive: it faces you, as the artwork is part of a personal conversation, not for display.
I am captivated by certain cameos inspired by Roman mosaics and symbolic imagery. However, I could never see myself wearing them as simple pendants on delicate chains or as brooches. My journey with cameos began with a desire to wear them in a way that felt true to me, leading me to create the first leather bracelet. I cut the leather by hand, and from that one piece, everything started. What began as a personal pleasure, an urge to wear and experiment, gradually evolved over the past ten years into collections that have taken on a life of their own.
Transforming these pieces is a rewarding challenge, and leather was the first medium I chose. I wanted to place these refined, antique works of art against a simple, contemporary backdrop, like leather, placing them against leather to enhance the intaglio’s elegance. I believe that to truly highlight something as intricate and historical as a cameo, contrast is essential.
LIJ: You’ve spoken about “a secret of the cameo’s character.” What does that mean to you?
Each cameo holds a secret—it is a vessel of many stories. hese stories belong to the artisan who carved it, perhaps in the 1800s, and to the rich symbolism of the iconography. They also include the journey through time—the individuals who wore it, the path that brought it to me, and the story I’ve added. Then, of course, there’s the story added by each person who acquires it, the fortunate final owner. Every wearer contributes something uniquely their own. Each cameo is a container of histories, with characters like the Three Graces or Athena carrying their own magic and power.
I’ve discovered a deep connection between people and the iconography they select. A client seeking strength or support may feel drawn to the image of a warrior, like Athena. Clients with nurturing qualities often gravitate toward delicate, feminine images like the Three Graces. Each cameo resonates uniquely, reflecting the wearer’s personality and qualities.
LIJ: When it comes to selecting the cameos you use, what draws you in? What do you consider makes a cameo beautiful or special?
Selecting cameos excites me deeply. When I schedule appointments with antique dealers from across Europe—mainly Italian, English, French, and German—I can barely sleep the night before out of anticipation. Male figures, especially bearded men and warriors, are my favorite subjects and always spark personal excitement. Early in my career, I struggled to part with these pieces. My assistant once reminded me, ‘You’ll never succeed in business if you keep your favorites. But even now, I have to admit, they remain my favorites.
I’m drawn most by the iconography and patina. Patina and touch distinguish antique cameos from modern ones.
Many modern producers have approached me, but their work lacks the charm of true antiques. I can easily distinguish an antique cameo by its delicacy, craftsmanship, and the inseparable connection of patina and touch. I need to hold each cameo in my hand to truly feel it, and that’s when the emotional connection begins.
I’m thrilled by fine details, lightness, and elegance over roughness. I feel this emotion most intensely when I trace the curls of a male figure’s hair, the drapery of a nymph’s clothing, or Athena’s helmet in relief. This tactile connection, combined with quality and material, makes a cameo special for me.
My mother, my greatest teacher, influenced me with her eccentricity, sensitivity, and direct guidance. I say unintentionally because I remember her lightly touching old paintings or antique objects, her face lighting up with a smile as she did so. It’s a beautiful memory that has stayed with me. She also guided me and my siblings to observe and touch objects intentionally. I remember her showing us a painting from the 1700s when I was about twelve or thirteen, asking us, “What do you think might be hidden beneath this layer?” She would let us touch paintings, and during restoration, we sometimes discovered hidden layers underneath.
These small stories capture the importance of touch, emotion, and discovery—foundations of my relationship with cameos today. Certain pieces reach a different level, both in craftsmanship and in the emotion they convey, and these are the ones that leave a lasting impression on me.
LIJ: You don’t just work with cameos; you also use materials like onyx, malachite, and leather in your pieces. How do you choose these materials, and what role do they play in expressing your artistic vision?
Pairing cameos with materials like leather, vibrant enamels, onyx, and malachite gives my jewelry a contemporary edge. Leather, for me, embodies contemporary style, emphasizing the intricate craftsmanship of cameos through striking contrast. This contrast not only brings the cameo closer to today’s aesthetic but also highlights its delicate artistry.
Similarly, when I use materials like onyx, malachite, or colored enamels, they serve to enhance the cameo itself. For detailed or ‘busy’ cameos, I use black onyx in clean, squared shapes to let the carving’s complexity shine without overwhelming it. For minimalist portrait cameos, I opt for bold colors like red, blue, or yellow enamels to add vibrancy. Each material highlights the cameo, striking a harmonious balance between tradition and modernity.
LIJ: Every piece you design has a story. Can you share one that holds particular significance for you?
Over the years, my designs have become stories of friendship, love, and connection. Many close friends entered my life through a bracelet or necklace they purchased. My jewelry has connected me with incredible people, and I feel grateful as an artist.
A bracelet with a lava cameo of Athena holds special meaning for me. As a warrior figure, Athena symbolizes strength and determination. This bracelet was my personal amulet, a sign of my belief in my artistic journey. For years, I worked to gain recognition, presenting my jewelry at prestigious stores like Bergdorf Goodman. Early on, questions about sales and demand limited my opportunities. After a feature in a publication, interest in my jewelry grew, particularly the Athena bracelet prominently shown on my website. Athena was my symbol of hope, and I repeatedly told buyers it was unavailable.
After months of inquiries, I received an email from a woman named Sue from Washington DC, asking to buy three bracelets, including Athena. I hesitated and told her Athena was spoken for, needing time to decide. In that moment, I knew it was time to let Athena go. I told Sue it was available, and she placed the order. As I was preparing the shipment, Sue emailed again, ensuring timely delivery as Athena was a gift for her 18-year-old daughter undergoing chemotherapy. I read those words, and they stopped me in my tracks. I had to step away for two hours to compose myself as I was overwhelmed with emotion, realizing that my Athena, my talisman, was destined for a young girl fighting cancer.
When I replied to Sue, I explained that Athena had been mine and that I hadn’t wanted to let it go. But learning about her daughter, I realized there was no better place for it to be. After sending the bracelets, I waited anxiously for a message, but months passed without a word. I feared bad news and hesitated to reach out. Months later, I finally received an email from Sue. She began, ‘Dear Anna, I don’t know if you remember me…,’ and I was already in tears. She shared that her daughter Avery was now cancer-free after surgery and that they wanted to meet me in person to celebrate. We did meet in my small town of Pienza, near Siena, marking the start of a remarkable story of friendship, love, and resilience. Today, Athena is exactly where she belongs—with Avery, now a beautiful and strong woman.
LIJ: When people wear your jewelry, what do you hope they feel? How do you want to connect them emotionally to your work?
When people wear my jewelry, I hope they feel unique, confident, beautiful, strong, excited, proud, poetic. I want them to feel connected through the stories I share with them. Not everyone knows the full story behind what they wear, and I see myself as a bridge for these narratives. I love that they make these stories their own. Understanding what you wear lets you feel its strength and poetry even more. It’s like when you look at a painting by an artist: the first impact is emotional, but then there’s the beauty that comes with knowledge, the ability to read it more consciously. I give people the keys to understanding, enhancing the beauty and meaning of what they wear.
LIJ: What exciting new developments are you seeing in the jewelry industry, and how do you envision cameo jewelry adapting to these changes?
Jewelry is increasingly moving toward unique, personalized, and bespoke designs, with a focus on customization. There’s a return to traditional artistry blended with bold, contemporary shapes. Jewels are vessels for emotions and often legacies of tradition. This movement aligns with the growing focus on sustainability. I contribute to sustainability by repurposing existing items. By redesigning antique cameos, I proudly contribute to sustainability.
