Anna Maga Visconti was born in Milan, in a family where the taste for art went hand in hand with creativity: her great-grandparents Gaetano and Bianca Borsani were friends, among others, with Lucio Fontana, Gio' and Arnaldo Pomodoro, whom they saw assiduously exchanging ideas and artistic artefacts that have surrounded Anna throughout her Milanese childhood.

Her Classics studies in her hometown were followed by the years of experiences abroad (London and New York) and of the initial approaches to the world of design. Those were years filled with journeys that would lead Anna to discover Indonesia, Cambodia, India, Thailand, Argentina, Uruguay, Nepal and above all, the most loved Brazil, which will leave an indelible mark on her artistic imagination.

Once returned to Italy, Anna decided to materialize what until that time had been only a passion, first by registering at the Italian Gemmology Institute (where she acquired the basic notions about the study of stones, diamonds and pearls) and later at the European Institute of Design of Milan where, in 2008, she obtained a three-year degree in Jewellery Design.

In the same year she joined the creative team of Giorgio Galli & Partners Timex Group, where she specialized in the creation and design of jewels for Maison Versace. It was during the following three years that Anna began to mature the idea of designing a collection that would bear her name, but it was only in 2011 that she decided to abandon the Galli’s studio to undertake her own independent journey. From that moment, she alternated consultancy for already established brands with experiences of a journalistic nature, but most of all, she finally devoted herself full-time to the realization of her dream: designing jewels bearing her name.

Her dream came true in 2013, with "Beijaflor"; the first collection signed Anna Maga Visconti.




The bursting strength of the Atlantic rainforest; the exuberant mangroves of Itacaré; the stones of Minas Gerais; the vibrant colours of Fernando de Noronha. And more: the mysticism of Pushkar; the blooming vegetation of Bali; the chaotic swarming of the souk of Marrakech; the air inhaled on the peaks surrounding Kathmandu; the magnetism of Ibiza’s rocks; the multicoloured hippy spirit of Goa… these are only some of the breathtaking sceneries that have shaped Anna Maga Visconti’s artistic imagination over her numerous journeys, leaving an indelible mark in her creative universe.

The oriental philosophies and the Brazilian magic joined to the charms of the landscapes, as well as the study of the natural elements that, with their magic and holistic properties, help achieve well-being and a total balance between body and mind.

Starting from her studies of design, from her in-depth analysis in the gemmology field and from her assumption that, by putting our bodies in the condition of being able to rebalance, it will still be able to regenerate, Anna Maga Visconti has combined the refined impalpability of the figure to the beauty of precious materials such as gold, silver and coral, combining them with a powerful natural element, - salt - thus creating a collection of jewels that, beyond its aesthetic value, contain a universe of transcendental meanings.

Jung recalled that man, before being a social and rational animal, as Aristotle wanted, is first of all a symbolic animal, that is, one who builds symbols which he feeds on incessantly. 

The "Beijaflor" collection ("humming bird" in Portuguese, from the combination of the words "kiss" and "flower"), is a collection with a sophisticated and contemporary design yet laden with primordial symbols with a metaphysical and ancestral touch.

"I wanted to create a collection which could blend the needs of health conscious and the image conscious"

Anna Maga Visconti




The universal symbolism connected to the triangle is an expression of the return to the primordial unity and can be found in all traditions since the Palaeolithic Age. 

The representation of divine perfection associated with this geometric figure is recognised by the Christian religious tradition as a symbol of the Trinity, but it is assimilated also in hermetic, esoteric, alchemic and Masonic argumentations.

The triangle repeats in the plane the symbolism of Number Three and is linked to the concepts of harmony and proportions.

In alchemy it is associated with fire and heart. For the Buddhism it is a base, perfect, versatile figure, always unvaried and always changing, which is at the foundation of the Buddhist representation of earth and of sky, and of the two dialectic forces presiding creation (Ying and Yang). In the Indian tradition, the symbol of the triangle has been interpreted as a sign of love and of gods (the practice of the hatha-yoga numbers have several positions known as triangles, believing that, in them, the forces of the sky and of the earth get channelled toward the centre).

Several speculations are connected to triangles, about the stages of time and life (present, past and future; birth, maturity and death) and the three principles of basic alchemy (salt, sulphur and mercury). Moreover, according to the representation of the four elements, the equilateral triangle supposedly corresponds to earth; the rectangle triangle to water; the scalene to air and the isosceles to fire. Exactly the latter – chosen by Anna for her Beijaflor collection - is widely present in the Masonic tradition as a "cosmic ternary", also called "Luminous Delta" (a triangle with a basis representing the Duration and the two sides respectively representing Light and Darkness).

Finally, in the relationship between forms and physical, chemical as well as biological processes taking places within these spaces, it has been proved that triangular shapes supposedly work as condensers for mysterious energy waves capable of acting on man, giving calm, well-being and serenity and providing energy to all human cells and organs, supplying the organism with an extraordinary vitality.


It represents the perfection, the completeness and the union, that which has neither breakings nor caesuras.

It is the traditional emblem of what has neither beginning nor end, like time; the circle represents the state of primordial substance, impalpable and transparent, uniform and immutable. 

Lacking angles and corners, it symbolises harmony, thanks to the absence of opposites, such as high and low. 

The symbolism of the circle is closely connected to that of the centre, the holy place where all material and spiritual energies concentrate, the beginning from which everything originates and to which everything returns. 

It is both magical and celestial because, like the sky, it represents the intellectual and spiritual dimension, linked to the perennial cycle of life and to the immateriality of soul.

Used also in the Celtic world as a symbol of a magic impassable world, it was used by medieval and Renaissance ceremonial wizards to protect themselves from the forces evoked.

In the shape of a ring, the circle symbolises eternity, union, reincarnation and universe.

In the old times, it was associated with the Sun and the Moon as a protective tool that, with its continuity, would repel negative forces. 


The word salt comes from Latin "sal", and its synonymous "sol" in mythology acquired the meaning of "Sun", liquid luminous energy or liquid sun light, integrated within a structure capable of creating and preserving life. All living forms ever existed on our planet come from the sea: we are made of water and salt and our bodies need exactly the elements and the vibrations contained in them in order to survive. 

Salt - which, together with sulphur and mercury, is one of the basic principles of alchemy - is a symbol of honesty, loyalty, integrity and purity and since the old age it was used to purify places: its neutralizing power is, as a matter of fact, capable of balancing positive charges. For this, it is customary (in Brazil, but non only there) to use it also for the purpose of driving away "evil spirits" and negativities, (immaterial entities which are none the less harmful electromagnetic emissions that can be found nowadays in our societies).


The stones possess energies through which we can change ourselves and our lives. Their magic power is as old as man, yet it was often forgotten.

Coral is a receptive stone with therapeutic qualities, associated with the planet Venus. 

It is a natural element closely connected with the three kingdoms (animal, vegetal and mineral); it has curative powers (in the old times they thought it was capable of detecting diseases, by losing its typical red colour).

It is considered a powerful protective amulet if worn, capable of driving away fear and agitation, encouraging inner changes. If given to a child, it would guarantee his or her future health; if placed under the pillow, it would bring on a calm sleep dispelling nightmares. 


Projective metal, associated to Sun and Fire. It can be worn as a protective amulet, because – with its healing, protective and wisdom powers – it increases one’s own personal power, promoting courage, wisdom, faith and will-power.


Jewels have magic as well as ornamental origins and for this reason, in the past they were worn to counter negative forces.

The word "scapular" comes from Latin "scapula", which means shoulder, to which the double meaning of "armour" and "protection" is linked. Its origin is thought to date back to the Catholic religion, which used it for devotional purposes with a function similar to that of the rosary. However, it was in the Brazilian culture that it became widely popular in the shape of a thin necklace with two pieces of wood, slightly bigger than a coffee bean, placed at its end, depicting the Christian religion saints (18 are the scapulars recognised by the official Catholic religion). 

Traditionally, the use of the scapular is accompanied by promises of devotion in return for protection: whoever wears it receives not only heavenly protection, but also protection from the dangers of everyday’s life, therefore enjoying spiritual as well as temporal benefits.

The typical placement of the two holy images – on the front (chest) and rear (back) of the wearer – only reinforces the power of this amulet, balancing its benefits.


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