On Limoges Porcelain

The porcelain I use for my sculpted rings is made in Limoges, France—part of a long tradition of fine French porcelain known for its strength, whiteness, and precision. It’s not available in the U.S., but I’m able to bring it back in small batches from Italy, sometimes in my own suitcase, sometimes with the help of visiting family or friends. It’s not the easiest material to source, but I’ve come to rely on it.

This is a dense, high-fire porcelain made for fine sculpting. It fires a bright, clean white and holds detail beautifully. I use it to shape delicate porcelain rings—handmade, small-scale, and precise. The clay responds well to carving and modeling, without collapsing or drying unevenly, and it accepts pigmentation evenly throughout, which gives me more control when adding color.

I use this porcelain only for my ceramic rings. Not because it isn’t suited for other forms—every piece I make deserves quality materials—but because this clay is limited and I reserve it for sculptural jewelry, where its strength and responsiveness matter most.

Each ring is made slowly, in stages, using simple tools—mostly a surgical scalpel. I carve, refine, and build details with care. The final pieces are high-fired to vitrification, making them smooth, luminous, and surprisingly strong.

Limoges has been a center of porcelain production since the 18th century, known for its kaolin-rich clay and the tradition of transforming earth into translucent, finely crafted objects. The porcelain I use is part of that legacy, and I’m privileged to carry it into my own practice—one small batch at a time.

Porcelain is durable, but not indestructible. For care tips and information on how to wear and store your rings, you can visit my ring care guide.

If you’ve worn one of my rings, you’ve already met this clay. It’s traveled a long way to get here.