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.
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| 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.
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| 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.
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