Qeelin: A 2026 Celebration of Dong Heritage: It is exquiste - why hasn't it 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 necklace 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 Shishi, 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 😊

Parting shot: High tea with Cartier: Got this pencil sketch on the way out!

John... something artist. Thank you!

Where The Macallan Begins: A Tasting Session That Starts in Andalusia, Not Scotland

The brand's monthly education series at The Macallan House in Central offers Hong Kong drinkers a rare look at the supply chain behind one of the world's most coveted single malts.

The invitation said whisky. What arrived, over two hours at The Macallan House on Duddell Street, was a lesson in viticulture, cooperage, and the particular obsessiveness of a distillery that has spent 200 years refusing to leave quality to chance.

Stephane Levan, The Macallan's Brand Ambassador for Hong Kong and Macau, opened proceedings with a statement that immediately reoriented the room. "For a lot of people, they think that the journey of The Macallan starts in Scotland," he said, pausing for effect. "Actually, the whole journey of The Macallan starts in Spain."

What followed was one of the more illuminating spirit education sessions available in Hong Kong, a city that, for all its sophistication around fine wine and premium spirits, rarely gets this close to the production fundamentals. Levan hosts these sessions on a monthly basis at The Macallan House. For anyone with a serious interest in Scotch whisky, attending one should be considered essential.

The Sherry Triangle and Why It Matters

The session began not with whisky but with geography. The Sherry Triangle is a designation within Andalusia, Spain's southernmost region, defined by three towns: Jerez de la Frontera, Sanlucar de Barrameda, and El Puerto de Santa Maria. It is the only place on earth where sherry can legally be produced, and it is, Levan explained, where The Macallan's character originates.

Only three grape varieties qualify for sherry production. Palomino Fino underpins the dry styles. Pedro Ximenez and Moscatel yield the sweet varieties that leave the deepest imprint on the wood. Summer temperatures in the region can reach 50 degrees Celsius in direct sun, making harvesting a nocturnal operation. Workers move through the vineyards from midnight until approximately five in the morning, racing to deliver fruit to the winery before heat begins to degrade quality.

The sherry that seasons The Macallan's casks is produced through two distinct ageing methods. Biological ageing, conducted beneath a protective layer of flor yeast that seals the wine from oxygen, produces lighter, mineral-driven wines. Oxidative ageing, with full exposure to air, produces the darker, richer profiles with pronounced nutty and dried-fruit characteristics.

During the session, guests tasted both styles. A Fino from Valdespino, The Macallan's partner producer, was strikingly pale and almost saline on the nose, demonstrating how little the flor-protected wine would transform a cask. More arresting was El Candado, a Pedro Ximenez from the same house, its viscosity visible as it clung to the inside of the glass. At 400 grams of sugar per litre, derived entirely from sun-dried grapes, it read closer to liquid confection than wine. The implication for oak seasoning was obvious.

The tasting context mattered because of what The Macallan has done, systematically, to control it.

In September 2024, the distillery's parent company, Edrington, announced the formation of Tevasa Forestal Group, a joint venture in which The Macallan holds a 50 percent ownership stake. The new entity combines the Tevasa cooperage in Jerez, which has produced European oak casks for the brand for over 40 years, with Forestal Peninsular and Forestal Peninsular de Cantabria, two sawmills in Lugo and Cantabria that source oak from forests in northern Spain and southern France.

This announcement concluded a series of investments that began in March 2023, when The Macallan acquired a 50 percent stake in Grupo Estevez, the family behind Valdespino Sherries, along with its vineyards and bodegas. Six months later, the distillery acquired the Vasyma cooperage in Jerez, specialising in American oak casks, and entered a joint venture with Coopers Oak, a sawmill in Ohio that supplies American oak staves to Vasyma.

The result is a level of vertical integration that Levan described without understatement. "Ever since last June 2025, The Macallan owns the finest sherries and broker casks in the world," he told the group. "No other whiskey brand as I speak today comes close to that."

That claim can be evaluated against the facts of the partnership. The Macallan now has ownership positions reaching back to the forest, through the sawmill, through the cooperage, through the sherry producer, and finally into the seasoning process itself. Casks are filled with sherry at Valdespino facilities for 18 to 24 months before any whisky touches them. The distillery specifies the oak dimensions, the toasting level, and the seasoning duration. Nothing is left to the supplier's discretion.

Igor Boyadjian, Managing Director of The Macallan, framed the investment in terms of heritage rather than commercial strategy. "As we celebrate The Macallan's 200th anniversary, this further expansion of our supply chain will ensure our reputation for richness and complexity for generations to come."

One of the session's more counterintuitive moments came during Levan's explanation of the solera ageing system used for sherry production. Unlike Scotch whisky, where age statements reflect the minimum time liquid has spent in cask, sherry vintages are not fixed. The solera is a dynamic system of stacked barrels, with older wine drawn from the bottom tier and replenished by younger wine from above. The age on a sherry label represents an average rather than a discrete vintage.

Some casks within Valdespino's soleras carry wine that is approaching 100 years old. Levan described one such example as "literally a liquid history in a glass," a phrase that applied with equal accuracy to the El Candado we were tasting, and, by extension, to the casks that will eventually travel north to Speyside.

Hong Kong occupies a specific position in the global single malt market. The city's duty-free status, gifting culture, and high concentration of affluent consumers have made it a bellwether for premium Scotch performance across Asia. The global whisky market reached approximately 78 billion dollars in 2025 and is projected to continue growing, with Asia Pacific leading expansion through the 2030s across markets including China, India, and Japan.

The Macallan leads the secondary market by both value and volume, a position reinforced by the kind of provenance storytelling that Levan delivers each month in Central. For a Hong Kong audience accustomed to evaluating luxury goods on the basis of heritage, craftsmanship, and supply chain integrity, the sherry cask narrative is not incidental to The Macallan's appeal. It is the appeal.

Attend the Next Session

The sessions reward curiosity. By the time the first whisky glass was raised, the room understood exactly what it was drinking, and why the glass smelled the way it did.

As Levan put it, with the Fino still on the table and the El Candado catching the light: "That veil is actually protecting the wine from oxidation... your wine at the end will be very, very, very dry."

The Macallan is betting, with the receipts to prove it, that the opposite of dry is where the real value lies.

---

The Macallan House is located in Central, Hong Kong. Monthly tasting sessions are available by private invitation and booking. 

All images Vincent Tsang 
Words.P.Ramakrishnan

Kerala artist Geetha Balakrishnan

 

A vibrant and beautifully preserved example of a traditional South Asian art form, a Kerala-style mural painting in Madhubani style by underrated Malayali artist Geetha Balakrishnan. The complex composition of the deities, the rich symbolism of the dancing figures and lotus flowers, and the intense, saturated palette indicate a professional hand that's well-versed in the traditional craft of the Indian subcontinent. The custom white framing and the pristine condition of the contemporary work currently hangs in Dubai. 

Radha Krishna Nritya 

Large scale oil on canvas
60 cm by 75 cm (24 in x 30 in)