When it comes to her jewellery design, Ann Perica is not afraid to walk off the beaten path, gently bending the rules of an age-old craft. Handmade fine jewellery that moves between polished pieces with geometrical lines and more playful notes. We meet in her elegant studio in Zürich Seefeld, the lake close by. Here, we talk beauty and business. Her path into jewellery, shaped by a childhood in Bern, and the way she approaches design today: intuitive, client-focused, balancing aesthetics with something more personal.
By Kaira van Wijk. Images: Ann Perica.
‘This piece was inspired by Bo Derek’s long braids in the 1970s film 10 – a pop-cultural phenomenon, all sun, skin and a gold-toned swimsuit,’ says jewellery designer Ann Perica, holding up a fringe earring of her own design: fine strands of solid gold chains, dotted with tiny diamonds and beads. As she speaks, she sweeps her waist-long, honey-blonde hair back; you can instantly picture the piece woven into it. ‘That’s how it’s meant,’ she adds. ‘It blends into your own hair, fine jewellery with a braid-like feel.’
Besides jewelry, Ann’s own way of dressing is more understated. She wears a navy, woven cardigan with large ivory buttons newly sewn on, paired with black trousers. Her look is understated, though she clearly has a soft spot for an offbeat detail. ‘I don’t mind a bit of kitsch here and there,’ she says, smiling. ‘We always laugh about it at the studio. I like something a little unconventional, that slight “1970s Vegas energy” from time to time.’
That love for the Seventies – the mood, the silhouettes, the architecture – also runs through her atelier. The space feels calm and considered, all soft wood and curved lines; a large, organically shaped sofa sits like a smooth pebble at the heart of the room, with subtle Art Deco touches. ‘The first thing I brought in, when I got this place about five years ago, were these old books from my granddad,’ she says. ‘He had so many and was always reading. I wanted to add something familiar.’
As we talk, Ann rearranges a mix of art flowers from Silkhaus. ‘I love that they’re long-lasting and I never have to change the water or wash the vase,’ she says. She founded her namesake brand from home, beginning at her kitchen table after training for two years with a goldsmith. Prior to that, she spent years working closely with diamond traders, attending international fairs in Las Vegas, Basel and Geneva, and visiting their New York headquarters to deepen her industry knowledge. The spark, however, was lit much earlier in her childhood. ‘My uncle is an architect, and another uncle, together with his wife, is a stonemason. They once made me a flower ring carved from Swiss stone, I still have it. My mother is a seamstress and teacher, and my father worked in a hospital but has always loved photography.’
Growing up in Bern, she enjoyed what she describes as an idyllic childhood. On warm summer days, Ann would float down the river Aare, often starting from Freibad Marzili. From the water, the view opens towards the city - with glimpses of its historic architecture and the ‘Bundeshaus’ rising above. ‘The Swiss writer Friedrich Dürrenmatt once described Bern’s old town as a shell,’ she says. ‘That image has always stayed with me.’
Today, she divides her time between her showroom and a traditional farmhouse in the Bernese region, where she lives with her family.
Your sense of style…
‘Personally, I love tonal dressing. Ink blue, black, like I’m wearing this morning. Sporting one colour head to toe, or staying within the same palette. Ton-sur-ton. I translate that into jewellery as well.’
How so with jewellery?
‘It’s about the pairing. Rose gold with a champagne-coloured stone, for example, feels very soft. With yellow gold, I tend to go for slightly warmer or more muted diamonds, nothing too bright, it’s more nuanced that way. I’ve always been drawn to yellow gold, but for larger, more statement pieces, I often prefer silver.
Your take on mixing precious metals like silver and gold…
‘What I like is to keep a sense of balance. If someone wears mostly silver, I’d add two gold pieces rather than just one, so it doesn’t feel accidental. It can be subtle too, something in your watch, or a two-tone piece that ties it together. I always think of Leandra Cohen, I love her Substack. The way she mixes feels almost random at first, but it really isn’t. She’ll wear fine jewellery next to something she picked up on holiday, and it just works. I think almost anything is possible, as long as it aligns with your personality and overall style.’
Most surprising about your creative process…
‘(Laughs) It mostly happens in my head. I always have too many ideas, and then suddenly they come together. I can’t always say where it comes from, it just clicks. The main idea is usually already there, sketching is more about refining. I’ve had to learn to filter, and, luckily, my team helps keep me focused. Right now we’re working on a collection inspired by Greece. One of my team members is getting married there, so we’ve been talking about it a lot, and I was in Athens last year. It was kind of built from there.’
One piece everyone should own…
‘With gold prices soaring, a gold piece has become an investment. A classic ring is always a good place to start, something you can keep wearing. And then there’s the pendant. Simple, round, oval or rectangular, ideally something you can engrave to make it personal. It works with everything. You can wear it on its own, or layer it. Add a charm, mix it with something inherited, like a malachite pendant my father once picked up while travelling.’
Most precious pieces of jewellery…
‘The piece that really started it all for my brand is the Pomander, which I find quite special. It’s a pendant with a small ceramic capsule inside where you can add your favourite scent, inspired by 17th-century nobility. I used to not smell my own perfume anymore, wearing it every day, but this way, I do.’
What you’ve learned as a female founder…
To trust my own instincts. In the beginning, I listened to everyone, but there isn’t one right way, it has to fit you. I studied economics, so I understood the logic, for example that you should stay within one category. In my case, that would mean only fine jewellery in gold with diamonds, not mixing materials or price points, or choosing between lab-grown and natural stones. But I never felt the need to be that strict. Gold jewellery is still the core, but I’ve explored other directions too, including collaborative silver pieces with an interior architect.’
Biggest career lesson…
‘It’s never a straight line. Two steps forward, one back. You try things, adjust, sometimes start again. Often it comes down to people. Now we work with really great people, cool producers and manufacturers who really understand what we do. It takes time, but that’s also part of the beauty.’
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