This relationship can be seen more clearly in the eastern design aesthetic. For example, jade is highly revered in Chinese culture and a popular choice for modern jewellery designs; other Asian countries such as Vietnam, Thailand, Malaysia and India value gold, which symbolises wealth and prosperity.

Throughout the region, jewellery design is more rooted in tradition and religion than in the west. Qeelin focuses on using jade and symbols that have cultural significance derived from China’s rich heritage, with early designs inspired by Chan’s visit to Dunhuang in Gansu province, a major stop on the ancient Silk Road and best known for the nearby Mogao Caves. He describes the ancient Buddhist murals and sculptures he saw in the caves.

The resulting jewellery celebrates the country’s rich cultural heritage by giving traditional symbols a modern twist with designs that are both contemporary and meaningful. So, why the wulu? In ancient China, Taoist monks ate the flesh of the gourd for nutritional and medicinal purposes, while the hard shell was repurposed as a container for water or wine.

Over time, the shape became a popular symbol of good health, prosperity and longevity. Other emblems in Qeelin jewellery include auspicious animals and other symbols; the Yu Yi Collection, for example, incorporates the Chinese symbol for longevity in pieces made of jade and gold, while the Lotus Collection celebrates the flower of the same name, a symbol of purity, spiritual enlightenment and rebirth.

While, as Moussaieff says, eastern jewellery design is often flamboyant, Chan’s designs are notably understated. He says, “Minimalism is more like qi [life force]. It is like an energy hidden within you.”

He further explains this idea of qi being minimalist—but still full of meaning—by comparing western Renaissance paintings and Chinese ink paintings: “You will find that the former are full of colour and intricate details while the latter are about black and white strokes, and the use of empty spaces.” Increasingly, though, eastern and western jewellery design norms “flow from one into the other”, says Moussaieff, who particularly admires Taiwanese high jewellery designer Anna Hu.

Hu’s work reflects the east meets-west aesthetic; for example, by combining traditional Chinese gemstone treatments, such as cloisonné, with contemporary diamonds etting techniques. Additionally, Asian designers are still largely influenced by traditional design methods, while the west is constantly pushing the boundaries of design with new and innovative techniques.

For instance, Asian designers’ works use historic techniques such as filigree, enamelling and engraving to create intricate designs. Malaysian jewellery designs often feature intricate filigree work and are heavily influenced by Islamic art, while Thai designs draw inspiration from Buddhist culture, and the use of classic goldsmithing techniques like repoussé, in which a sheet of metal is hammered from the back to create a raised design.

In contrast, western brands such as Tiffany & Co, Bulgari and Boghossian have popularised techniques such as 3D printing and laser cutting, which enable the creation of much more intricate and complex jewellery designs than traditional handcrafting methods.

What both practices do prove, however, is that jewellery is a form of art that is “open to interpretation”, as Chan puts it. He said a western customer’s son once asked him whether his inspiration for the wulu was a guitar, and while Chan corrected him, he realised that his designs were being appreciated for their “proportions and balance”, something he considered a win.

The exchange was a unique experience that encouraged his customers to re-evaluate their relationship with jewellery, to appreciate it for its artistic value and to use it to express themselves freely—after all, jewellery should be a source of joy and fun, regardless of the owner’s geography or culture.

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