Qeelin: A 2026 Celebration of Dong Heritage: It is exquisite - why hasn't the brand gone global?

Since its founding in 2004 by creative director Dennis Chan, Qeelin has carved a distinctive niche in the oversubscribed fine jewellery market, which is studded with legacy Maisons, artistic and artisanal gems (- yes that was very much intended), an alarming number of socialites with a hobby (men and women) and true creatives lost in the melee. 

The Hong Kong-based brand (acquired by Kering in 2013) draws deeply from Chinese cultural symbolism while delivering playful, contemporary designs suited for everyday wear. Its name evokes the mythical Qilin, a symbol of love and auspiciousness, and it has spent two decades reinterpreting Eastern traditions through modern lenses. 

The brand gained early international attention when Hong Kong actress Maggie Cheung wore a Wulu earring at the 2004 Cannes Film Festival, propelling the signature gourd-inspired collection into the spotlight and the red carpet. Qeelin has enjoyed strong popularity in Greater China and among Asian consumers, bolstered by Kering’s support and cultural resonance. It remains a go-to for modern interpretations of heritage that appeal especially to younger Chinese buyers. 

For the average Western consumer, tourist or window-shopper at, say the IFC location in Central Hong Kong, its Chinois chic storefront is eye-catching... without going too costume-y. And there isn't a preponderance of jade that makes even the youngest of buyers seem... suddenly of a certain vintage. Qeelin's collections have just the right amount of symbolism without being too obvious (well, depending on the collection) and a certain joyfulness and playfulness that makes you stop for a second look. The price tag, however, can be a hurdle for young consumers with a limited ceiling on their creditcard. But then, maybe they aren't the target? 

Western stars spotted in Qeelin include Katy Perry and Kate Winslet. On the Asian side, Maggie Cheung remains a fan favourite, having worn the brand on more than one occasion, while current ambassadors and wearers include Chinese actress Liu Shi Shi, Yoona Lim and Wang Chuqin, former global brand ambassador Lay Zhang, and K-pop talents like Somi and Ailee. Other notable Asian names include Ase Wang and more who've embraced their Asian and cultural roots without, stapling a flag on their forehead.  

Truth be reluctantly told, despite its quality and cultural depth, Qeelin has not achieved broad pan-global mainstream recognition on the scale of Western heritage houses. Its appeal stays deeply rooted in Chinese mythology and storytelling, which resonates powerfully in Asia - particularly mainland China, where it operates dozens of stores - but can feel more niche elsewhere. Intense competition in the luxury jewellery sector, a historical focus on Chinese and traveling Chinese clientele, and the challenge of translating specific Eastern motifs universally have slowed wider penetration, though Kering-backed expansion (including a Place Vendôme boutique and plans for the US, UK, and Australia) continues. 

When you look at Western counterparts, heritage jewellery houses from Europe have been around for a century or two - compared to the baby steps this brand has taken. For example, Garrard (England, 1735) is the oldest crown jeweler that comes to mind, and a firm favourite of the British royal family. It's an easier sell when you state HRH wears the brand often. And Megan Markle doesn't . 

Chaumet (France, 1780) has strong Napoleonic and royal ties and is constantly reinventing itself to be relevant today among the younger, often Hollywood-en glitterati. Cartier (1847), Boucheron (1858), or Bulgari (1884) are prestigious, ever-evolving, ever-relevant and their painstakingly created creations and accessories are a collector's item. 

For a baby panda brand like Qeelin, it is much harder to make ripples especially when UHNW young- gen in and around Asia, who would rather invest deeply in a brand that's as recognisable in Boston as it is in Beijing. 

Take someone like Becca Bloom, notorious high jewellery shopper of Asian descent, living a vainglorious life in sunny California. While espousing the facile joys of conspicuous consumerism, the capitalist icon leans in on her Asian heritage often enough; she talks about the year of the snake, her lucky horse year, mentions what's considered harbinger of good fortune in Asian culture. However, she's not dropping hardcore cash at Qeelin, but mostly at Van Cleef and Arpels and Bulgari. She's no fool (bear with me), as she knows her VCA bling can be seen as investment, not just decorative braggadocious antics for social media clout. If things ever go to pot, there's some value in auctioning off vintage Van Cleef - it often makes news and record sales. Now, the same cannot be said about Qeelin....  

Having covered the jewellery market since.. Jesus was a boy, it is a crowded field of Asian jewellers, all vying for attention, audience, editorial coverage and consumers. I've been writing about and often admiring the words of many Asian jewellers. To list them, let me careful here, as I go alphabetically; Anna Hu, Cindy Chao, Michelle Ong, Wallace Chan, Wendy Yue...  This doesn't even include the likes of Sarah Zhuang, Bao Bao Wan and others who have their eponymous accessories brands at breathtaking prices that sell well. Fun fact, traditional Asian families burdened with generational wealth have their own personal jewellers that they rely on. They are non-branded houses, ateliers only they know of - and refuse to share with the hoi polloi. 

Somewhere along these circuitous, serpentine roads flanked by vintage jewellery houses, you'll find  sophomoric Qeelin - celebrating its 22nd year as its finally old enough to drink and vote. When doing layout with other brands, my some of the legacy houses were offended to be on the same page as this young upstart, but I've always liked the style and silhouette of what the house offers.  

Pieces often reference myths, nature, and philosophy but remain light, kinetic, and wearable daily rather than solely for special occasions. The press releases often tout 'exceptional craftsmanship' [well, they all do tbh!], often blending rose and white gold, intricate pavé, moving elements, and high-quality gemstones, for their narrative-driven jewellery that feels both talismanic and yet contemporary. This balance of reverence for tradition and playful innovation sets it apart. But like a loan panda masticating bamboo in a crowded jungle, it's hard to pinpoint the brand's mega moment, its zenith, but its certainly climbing steadily and building brick by golden brick. Just look at its latest 2026 collection. 

Building on last year’s Dong ethnic traditions exploration, incorporating drum towers, phoenixes, golden spiders, and cosmic “Chi” life force into refined designs, there are several standout pieces in the treasure trove the brand is offering. Gemstones narrate stories amid nature, myth, heritage and as some stand-out pieces include; 

The Spider Flower: White gold with Zambian emeralds (including a 3.27-carat oval center stone) and pavé diamonds forming a spider’s web. Earrings, rings, and bracelets reinterpret Dong brocade geometry. It symbolises abundance, fertility, and cosmic order via the golden spider legend paired with peonies. The necklace looks like a statement piece for special occasions, but the earrings can dazzle all day. 

Queen (Phoenix Series): Dynamic rose gold phoenixes with hinged, kinetic wings set with gradient sapphires and diamonds that sway with movement. The indigo Azure Silhouette uses marquise sapphires and a 3.21-carat pear aquamarine for sky-meets-water serenity. The crimson Empress version features a dramatic 3.06-carat Mozambique “pigeon’s blood” ruby - fiery, regal, and rebirth-themed. These rank among the collection’s most spectacular, blending legend with wearable motion.

 

Ling Dong: The necklace is fine, but its the pair of earrings that look stunning. Paired with dangling pear-shaped emeralds or rubies, it translates Dong “Grand Songs” into melodic, interactive jewellery.

Wulu Shanshui and Celestial Light Above the Clouds: Three-dimensional Dong village scenes (drum tower, swallows, golden fish) in mixed rose/white gold. The signature necklace centers on a 2.14-carat pear ruby (rising sun) with baguette diamonds and auspicious clouds - highly collectible for its narrative depth and craftsmanship.

Wulu Fairy

Wulu Fairy and the Wulu Link: Evolutions of the iconic Wulu motif - cascading spirals, tilted dynamic forms with 2+ carat center stones (ruby/emerald), pearl embraces, and fluid diamond settings. These exemplify Qeelin’s mastery of its signature symbol. 

The Wulu Link

Qeelin’s 2026 offering deepens its “Miracle Garden” with emotional richness, proving that after more than two decades, the brand continues to evolve Chinese cultural narratives into luminous, modern treasures, just waiting to be discovered by the world at large.  

For those seeking jewellery with Asian soul, story, and sparkle, this collection invites attention, dedication and an outing on a special night. 

Asian Jewellery Designer: Wallace Chan: Sculpting Eternity in Gem and Porcelain

Few artists have coaxed such poetry from the unyielding resistance of stone, titanium and porcelain as Chan. Born in Fuzhou in 1956 and apprenticed at 16 in the backstreets of Hong Kong’s jewellery quarter, the self-taught master has spent more than five decades transforming an ancient craft into a distinctly contemporary art form.

Today he is recognised as one of Asia’s most important jewellery artists and sculptors. The first Chinese contemporary jewellery artist to enter the British Museum’s permanent collection, Chan is celebrated for technical breakthroughs that include the Wallace Cut (his 1987 illusionary multi-dimensional carving technique!) pioneering uses of titanium in wearable art, and his own Wallace Chan Porcelain, a material five times stronger than steel yet capable of ethereal translucency. 
His works reside in the Shanghai Museum, the V&A, and the Museum of Fine Arts, Boston. When Christie’s London presented The Wheel of Time in 2023, the largest exhibition of his oeuvre in Europe to date, it drew visitors of all ages and backgrounds to pieces that feel less like ornaments and more like captured moments of philosophical inquiry.
With his long beard and quiet intensity, Chan speaks softly but thinks in epochs. In conversation, he reveals an artist unbound by category, trend or even the traditional expectations of jewellery itself.
How would you describe your jewellery aesthetic? Does it fall more under the category of art and sculpture than accessory?“I strive to create artworks that will outlive me. When it comes to art creation, jewellery is a form of expression. I embrace all art forms and choose not to be confined to any formats. I feel that true artistic freedom means transcending boundaries, even the boundaries of art forms.”
Is there a muse, man or woman, behind the design and who you make the jewellery for?“I create for history.”
What has the experience of the exhibition in London been like? Do you see a difference in how Westerners approach your work and how an Asian audience or buyer might?“I create my works in a way that they are universal, and they communicate to people regardless of their backgrounds. At my exhibition, there were children as young as the age of 3, and there were people in their 80s. It brings me joy to know that my works delight others. We made the exhibition free entry, open to all because we believe that everyone should have an opportunity to enjoy the pieces. I have collectors from different countries in Asia and the West and I am very grateful that they generously loaned their pieces to make this exhibition possible.”
The state of jewellery in 2023; how would you describe it? In your experience, over the years, how has jewellery changed? What was it before – what is it now?“Change is the only constant in life, it is also an essential element in my creative process. To create is to embrace change. Change doesn't happen year by year, but minute by minute.”
Do you see a trend in high-end jewellery that you like.. or that you dislike?“I do not keep up with trends. Trends come and go – they move too fast.”
There are a lot of imitators who’ve been inspired by your work and try to replicate it in their own way. What are your thoughts on it?“It is perhaps a part of the learning process to imitate what has been done before. But life is too short to live in the shadow of the past. At some point one must create one's own future. Every piece of mine is unique because I find it meaningless to replicate myself. Every creation should be a new challenge.”
What advice do you have (to our readers) about jewellery? Should they see it as investment? Something beautiful to own? A keepsake? A treasure?“Collect only what you love, always.”

Over the past twenty years, I have featured several Asian jewellery designers who have a signature style, unique motif and sources of inspiration that often route predictable sources, nature, the oceans, flora and fauna. 
Wallace Chan has an ethos, a philosophy, in his hands, a jewel is never merely a dear, decorative, dazzling designer artifact guised as an accessory. It becomes a vessel for ideas that outlast fashion, markets and even the artist himself, quiet proof that the most radical act in contemporary jewellery may simply be the pursuit of enduring meaning. For years we've written about quiet luxury, now we are shifting focus to quiet legacy.  

亞洲珠寶設計大師陳世英：以寶石與陶瓷雕刻永恆

鮮少有藝術家能像陳世英（Wallace Chan）一樣，從堅硬無比的寶石、鈦金屬和陶瓷中淬煉出如此深邃的詩意。1956年出生於福州、16歲在香港珠寶區的街巷中當學徒，這位自學成才的大師花了半個多世紀，將一門古老的工藝轉化為具備鮮明現代感的新穎藝術形式。

如今，他被公認為亞洲最具影響力的珠寶藝術家及雕塑家之一。作為首位作品獲大英博物館永久典藏的中國當代珠寶藝術家，陳世英以多項技術突破而聞名於世，包括「世英切磨」（Wallace Cut，於1987年創製的幻影立體雕刻法）、將鈦金屬應用於可穿戴藝術的先驅工藝，以及他自主研發的「世英陶瓷」——一種強度比鋼鐵高出五倍、卻又能展現空靈透光感的獨特材質。

他的作品亦被上海博物館、維多利亞與艾爾伯特博物館（V&A）以及波士頓美術館典藏。2023年，當倫敦佳士得舉辦其歐洲歷來規模最大的展覽《時間的輪轉》（The Wheel of Time）時，吸引了不同年齡與背景的觀眾前來朝聖。這些作品與其說是飾物，不如說是一瞬被凝固的哲思。

留著蓄長鬍鬚、眼神靜謐而專注的陳世英，說話溫和，思考卻縱橫於時代與紀元之間。在對話中，他展現出一種不受類別、潮流乃至珠寶傳統框架所束縛的藝術家本色。

您會如何形容自己的珠寶美學？它是否更偏向於藝術和雕塑，而非單純的配飾？ 「我渴望創作能夠比我生命更長久的藝術品。在藝術創作的層面，珠寶是一種表達方式。我擁抱所有的藝術形式，不願被任何格式所限。我覺得真正的藝術自由，是跨越邊界，甚至超越藝術形式本身的界限。」

您的設計背後是否有某位靈感繆斯（無論男女）？您又是為誰而創作？ 「我是為歷史而創作。」

在倫敦舉辦展覽的體驗如何？您覺得西方觀眾欣賞您作品的方式，與亞洲觀眾或買家有何不同嗎？ 「我創作時著重於讓作品具備通性，無論觀眾背景為何，都能與之對話。在我的展覽上，有小至3歲的孩童，也有80多歲的老人。得知自己的作品能為他人帶來喜悅，這讓我感到無比欣慰。我們將展覽設為免費入場、向所有人開放，因為我們相信每個人都應該有機會欣賞這些作品。我的藏家來自亞洲和西方的不同國家，非常感謝他們慷慨借出藏品，才讓這次展覽得以實現。」

您如何形容2023年珠寶業的現狀？依您的經驗，這些年來珠寶產生了怎樣的變化？過去與現在有何不同？ 「變革是人生唯一的永恆，也是我創作過程中不可或缺的元素。去創作，就是去擁抱變化。變化不是按年發生的，而是每分每秒都在進行。」

在高級珠寶領域中，是否有您喜歡……或不喜歡的趨勢？ 「我不去追隨趨勢。潮流來來去去——它們變化得太快了。」

市面上有許多模仿者受您的作品啟發，並嘗試以自己的方式複製。您對此有何看法？ 「去模仿前人做過的事，或許是學習過程的一部分。但人生太短，不能一直活在過去的陰影下。人總要在某個時刻去創造屬於自己的未來。我的每一件作品都是獨一無二的，因為我覺得自我複製毫無意義。每一次創作都應該是一個全新的挑戰。」

對於珠寶，您對（我們的）讀者有何建議？他們應該將其視為投資、一件值得擁有的美好事物、一份紀念品，還是一件珍寶？ 「只收藏你真正熱愛的事物，永遠如此。」

在過去二十年間，我介紹過多位具備個人標誌性風格、獨特圖騰與靈感來源的亞洲珠寶設計師，他們的創作源泉往往來自可預期的自然、海洋或花草鳥獸。

然而陳世英擁有一套屬於自己的信念與哲學。在他手中，一件珠寶絕非只是披著配飾外衣、昂貴而耀眼的設計工藝品；它成為了思想的載體，凌駕於時尚、市場乃至藝術家個人的壽命之上。這亦無聲地證明了，當代珠寶界最激進的創舉，或許不過是對「永恆意義」的純粹追求。多年來我們一直在探討「低調奢華」（Quiet Luxury），而現在，我們將目光轉向「靜謐傳承」（Quiet Legacy）。

Creature of Paradise: Anna Hu’s Exquisite Jewellery

Jewellery artist Anna Hu’s Parisian haute joaillerie creations float like a butterfly.

It’s been a busy year for jewellery artist Anna Hu. She’s hopscotched around the globe to showcase her artistic assemblage of creations at newsworthy events. She joined The European Fine Art Foundation (TEFAF) in Maastricht for the second time in a row, where she was the only speaker representing high-jewellery exhibitors, alongside a panel of experts in the field of luxury. She generously donated a pair of Celestial Lotus earrings at the China Gala Auction, raising money for a worthy cause. And last but certainly not least, Hu presented her latest series of stunners in Paris, where she debuted the official launch of Papillon du Blanc as one of the Maison’s classic collection.

Read the entire feature here, only at Robb Report Hong Kong. 

Eastern Promises: Rise of the Asian model

Eastern Promises

Text: P. Ramakrishnan

As they pony trot down the catwalk, in a parade of fashion forward fierceness, Jia Jing (New York agency), Jing Ma (Muse agency), Jae Yoo (Major agency) are languid in their motion across the stage as their expressionless visages are telecast around the globe. These guys aren’t doing turns at Shanghai fashion week, nor will they be seen in Hong Kong’s. Far too busy and booked up under the tents at Lincoln Centre in New York this week as they, along with a fraternity of other Asian male models, tan under the flashbulbs of the most prestigious and influential fashion shows in the western hemisphere.

This year, fashion weeks in New York London, Milan and Paris will churn out their wardrobe and accessories upon Asian bodies (often Eurasian to be exact) as models from Taiwan, China and even Hong Kong are fast making themselves visible in captions in print and television.

Is it an Asian invasion in front of the camera? Hardly. But they are encroaching the fashion runways. Paul Morgan, London based photographer who has shot advertising campaigns for many luxury brands –including Lancel with Asian/Eurasian models – doesn’t find a huge change, but says, “Armani has used Asian models, so has D&G, but I don’t particularly see a great trend of Asian models – men or women – being used often enough.”

The diversity hires are small in numbers – but they are visible. Like their female counterparts (Liu Wen, Shu Pei, Fei Fei Sun, Ming Xi and Bonnie Chen) will the men pull as much couture clout?

Riccardo Tisci’s Spring/Summer 2011 Givenchy Haute Couture collection drew its primary inspiration from Japan, particularly the work of the late legendary Butoh dancer Kazuo Ohno. Tisci showcased all his ensembles with an all-female, all Asian cast of models.

Well Asian men get the same privileges? Perhaps one day. Unlikely for now. Stylist to Maggie Q and Vogue contributor Sean K says, “There just aren’t than many Asian men casting for the big brands. Philip Huang’s one of the top male models who’s worked with the biggies but where are the other guys?”

Photographer Morgan concurs, “While it is true that there are fewer Asian male models- other factors are important. If you have the right look, build and attitude. No one’s ever said don’t use so-and-so because he’s Chinese or Japanese.”

Franic Lane

Jaymie Moran founder and editor of Asiance Magazine based in New York says, “Last week I was at a Nylon Magazine party and spotted this Asian looking male model. Turned out his name was Francis Lane. He's half Chinese, half English. I really think he could be the modern day Marcus Schenkenberg or Mark Vanderloo. I recommended him to Roman Young, Director of New Faces at Wilhelmenia [modeling agency]. Apparently they loved him! That's all I can say at this point as I'm pretty sure things are in the works. So yes. I think you are going to see a rise in the Asian male model over the next few years. Its already starting.”

Most Asian models head to the west, return to Asia and don’t go back. Nothing to do with their experience but because work in Asia keeps them busy.

“Fact is, Asian male models don’t make much money doing editorials or catwalks – none of them do,” says Sean K. “I remember sitting backstage of a major show with all the top guys and one of the boys said, ‘I really hope to get a cologne/perfume ad’. That’s the dream. For the big magazine shoots, male models get nothing but credit in the back page. Get a campaign to make real money.”

Godfrey Gau for LV

Taiwanese model Godfrey Gau leads the pack as the chosen one, particularly by Louis Vuitton as he’s the face of the Spring Summer 2011 Men's Fashion advertising campaign, featuring the new Damier Graphite "MICK" bag and the Men's ready-to wear collection. Dolce and Gabbana, Ferragamo and Prada have used Asian men to showcase their collection over the years. And as Moran says, it’s a slow and steady growth. 

As brands aspire to break into the great white hope, China – and to a certain extent Japan - using a familiar and approachable model for the populace is key, which has already led to the usage of Asian actors doubling as models for gigs; like Daniel Wu (Garnier), Michael Wong (Sony) and Huang Xiao Ming (Gucci).

“You know what most Asian male models do?” Sean K reveals. “Go to the US, European fashion shows, get snapped or noticed enough and then come back to Asia – where they become ‘celebrities’. They can charge five times as much and work less for more pay!”

Indeed, LV’s leading man Godfrey has appeared in seven Taiwanese dramas, from "The Kid from Heaven" in 2006 to the most recent "Volleyball Lover,” his modeling gig being a part of his ever-increasing portfolio.

As Asian models go for casting calls with their look books, there’s always an agenda to do more than just model. “At the end of the day, it’s a job and its about making money,” says Sean K, who also styles for films. “Just doing catwalk won’t cut it, modeling then becomes the stepping stone to something else.”

Note: Its funny what you find in the archives of SCMP - including features I wrote....  and have zero memory or recollection of. From 2011 no less.

Behind the label: AFH: Designer Ayesha F. Hashwani

Who started it? AFH was established in 2005 by designer Ayesha F. Hashwani and is known for its dizzying swathes of fabric, splashes of colour and timeless, luxurious and (surprisingly for a Pakistani designer) sexy ensembles. Applying the richness of traditional Eastern crafts and motifs to contemporary fashion trends from the West makes for beautiful looks with a distinct touch of exotica. AFH's colours for 2012 range from bright shades such as tangerine to soft muted tones and "fun-loving pastels", says the designer, "with lots of white chiffon, a must-have for summer". 

The main fabrics include voluminous voiles and light silks with a cotton blend. The Karachi-based designer's outfits have been flying off the racks at O'Nitaa in London and Studio 8 in Dubai - and are finally making an appearance in Hong Kong. 

Why we love it: for outfits that are both figure hugging and forgiving. Covering a multitude of sins with long kaftan-like shapes and flowing cocktail dresses, the designer provides a variety of lengths, styles and volumes for any woman. Whether it's asymmetrical hemlines, trains or pleats, there's no shortage of glamour at the label. 

What we'd pick: the airy, long, wispy white dress with arm-length embellishments (left; HK$4,100) and the ornate black cocktail dress (above left; HK$5,300). 

Where can you get it? Online at www.afhashwani.com or through Aliya Zaidi in Hong Kong (to book an appointment, e-mail aliya666@gmail.com or call 6088 9898). 

Byline: P. Ramakrishnan (ramakrishnanp @ hotmail.com)