The Shot: The Outtake: Behind the scenes of a Jewellery shoot

Working with Lenka and Leo! 

A jewellery shoot in studio at The Hive - the Kennedy Town location. 

Confessions of a Social Whor... Busy Bee: Throwback Thursday: Rewind to 2017

Find out what star-studded parties and VIP get-togethers you missed in the Fragrant Harbour over the last seven days, and get a sneak peek of what we've got coming up.

I used to write this column - and then, we had to stop as images were never ready on time or I wasn't. 

By P.Ramakrishnan on June 13, 2017 , Prestige Events

Last week, we popped along to the PI’A pop-up hosted by Priscilla I’Anson, the popular gal-about-town and stylist, whose immensely wearable and trendy designs are worn by similarly popular gals-about-town. The newly married missus (who tied the knot with photographer Boris Burgess) was working up a sweat as gaggles of glam types and fashionistas all appeared to support her, including: Alexa See, Divia Harileila, Marika Nanni, Neelam Daswani, Susanna Soo and others of that fashionable ilk. They weren’t there just for the free Ruinart champers that poured – many were seen trying and buying in the makeshift store. The Pop-up ends on July 31.

Thursday last week was a hectic mess of uber confusion and cab chaos as we event hopscotched our day away; starting out with the Joyce Marni market that was a colourful affair on the “dark side” – at Harbour City in Tsim Sha Tsui, the mall where we have got lost with alarming and regular alacrity. Then we got right back to one of our favourite Italian restaurants, Carbone, for a chat with Louis Vuitton folks. Sure, we love its latest collection and the young, bold new direction the brand seems to be heading towards, but all we were focused on were the dessert trays, indulgent pastas and the whopping meatballs. And we had some great industry gossip that cannot go beyond the ears at our table and into this column.

Getting across to Hung Hom for the Calvin Klein Jeans/Underwear/Performance (the departments under the aegis of CK) proved to be a disastrous affair. Crawling tunnel traffic had us stuck between Wan Chai and hell; by the time we got to Tak Fung Street, it was well past the invited hours. No sighting of hot models in their Calvins though, suspended, headless mannequins were covered in the latest fare. Sign us up for a box of the new line of underwear from the brand; the latest collection is, as expected, stylish and sexy.

We beat the heat and traffic as we MTR-ed back to another saucy sighting; as posted in earlier column here, we got our first look and a second glance at Landmark’s third floor where 12 beauty and wellness centres showcased their finest.

Friday night we were whisked away to another world by The Macallan whisky. Quite a production it was, as the halls of the Hong Kong Convention & Exhibition Centre were a labyrinth of multiple models wearing “dark and dandy” attire (as per invite dress code), striking motionless poses in front of square walls and mirrors. Trays of cocktails and fine whisky snaked around the event. The halls were bathed in red light, which made selfie-taking a self-defeating exercise. The Steven Klein photographic images that were displayed were stunning.

The weekend we dedicated to Rosemary Vandenbroucke – wouldn’t you?! – who presented the “sober social” Daybreaker once again. Dancing, exercising, yoga-ing were the order of the day. Being in her best shape ever – physically andmentally – clearly this combination is working well for this Hong Kong model icon.

The week ahead is more like the “weak” ahead … there isn’t much happening. One of our favourite brands Shanghai Tang presents its autumn/winter 2017 collection preview at Central Ferry Pier No. 8 (Hong Kong Maritime Museum). We are expecting some serious blingage from De Beers, which has a cocktail and exhibition on Thursday at Landmark Atrium, as it brings us “The Diamond’s Journey from Rough to Romance”.

Until next week …

My Society Column: Events, parties, premieres and launches.

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. 

The Society column: Rama writes. Well, wrote.

So this littl' column of mine - every month in Prestige Hong Kong, kept me up all night! 

October of 2017, I attended 37 events.  

After I stopped the column, I stopped going to anything. For the saucy minx that stated its because I stopped getting invited - also true to a certain extent - its also because when you don't have a column to write, a quote to get, something to describe, its just a lot of people standing around waiting to be photographed. 

Lord I do miss the SWAG and freebies though... 

And the occasional celeb sighting. Now I don't know who's who or who's whom. 

Some of the best years in media were at this magazine, esp working with Christina Ko, Jing Zhang and Stephanie Ip. 

Then there are editors I'd like to forget.

And blissfully have.

Reality Bytes: Exclusive Interview with French artist Arthur de Pins

In the hysterical, superscripted world of French artist Arthur de Pins, reality is an out of whack realm that’s begging for attention, laughs, study and introspection. Mixing pure wit with ample creativity, the observation of mankind and all its idiotic idiosyncrasies has never been this clever or belly achingly funny. With computer-enhanced drawings, the frames look like a slick, out of an Academy award-winning animated feature.

But is it art?

Senior Eeditor P.Ramakrishnan says, "Hell yeah!"

Within the technicolour, bilingual (French and English) official website of Arthur de Pins, 48, there are various samples of his artwork, clips of the mini films he’s made, posters, portraits, caricatures of celebrities and more. It’s multimedia art that pretenders often speak of, but perhaps de Pins is one of the few to realise.

“When I was at university, I wanted to choose between animation and illustrations,” says the artist. “Now it looks like I’m doing both. Today, everything is mixed together; comic books are turned into TV series, illustrations are animated in Flash, and illustrators work hand in hand with animators on character design. So, inspiration is coming from everywhere. As for me, it’s mostly from Europe and Japan, but the software I use (illustrator) has also its own ‘style’ – drawing without outlines, pastel colours - it’s a mix of everything.”

There is an online cult following of de Pins’ work with odes thrown at him like virtual bouquet hoisted towards thespians. With devilish detail, his portrayals of daily Parisian life are exaggerated, comical wonders. Using vector graphics (with Photoshop), every little nuance and minutiae of life is captured. In one of his images, a gaggle of girls try to put their makeup on in front of a mirror. Mouths wide open, their expansive eyes peer at their visages being covered with powder and puff… but pay attention to the precocious little girl in the centre trying to make room and grab a lipstick that’s got the essence of image, the seminal theme within the frame. 

Well, e-frame!

With an exhibition of his work in the making, de Pins is also working on a film, a sample of his short featurettes already visible online and heavily pirated and redistributed by fanatics (who are of course breaching copyright laws - whatever their intentions may be - by hosting them on their web sites, YouTube and the like).

“I’m working on a feature film based on my short movie, La Revolution des Crabes, says de Pins, a short film which has already won 33 creative prizes (see it online at www.arthurdepins.com).

His perspective of Paris is diametrically different to those who view it for its architecture, art and sartorial scenario. No moist paintings of couples kissing in gardens with iconic sites blurring in the distance. There isn’t a cliché in sight, and his images have delicious unpredictability.

De Pins’ universe is almost exactly like ours, minus the drudgery and mundane grayness, the long pockets of time where nothing happens eradicated and only its brightest moments are captured. In a tailspin of activity, a bus ride becomes a multiple act of characters living their daily lives, trying to fit into a tight space while maintain their distinct quirks. An S&M couple, half nude, find each other in leather straps and translucent tops, among a mélange of humdrum others, who seem listless in their angst inside the vehicle.

Women have exaggerated figures of old coke bottles; rotund bottoms and pronounced cleavages. Men seem lackadaisical and half asleep, listening to their own music whilst trying to escape their quotidian world.

Unrestricted by his own surroundings, the erotic and sometimes violent images can be sourced to inspiration that’s transatlantic. “I’m inspired by ‘fashion’ illustrators like Kiraz, LJordi Labada and Monsieur Z, and also by Japanese cartoons – as any other French cartoonist is!”

What separates de Pins from any hack with access to Photoshop is the technical finesse and depth to this work. Its in the shading, gradation and choice of colours, the subtle comic genius that’s clearly at work. If only reality was as interesting. In fact, if only the multi-million-dollar comedies churned out of Hollywood resulted in as many laughs!

The way his dream works, perhaps a project with Spielberg is indeed prescient. “One day I’d like to make an animation with exactly the same kid of drawing of my illustrations, but it’s not possible at the moment because my characters are too complex to be drawn by hand and frame by frame. Maybe later a new software will allow that.”

When asked to send us a self-portrait (this interview as done by phone and e-mail), he sent the image on the cover page. 

You gotta laugh.

Weekend Lols:

At least my Starbucks lady thinks I'm hot and tall. If not anyone else... 

She was Short / Sweet 😊