Phu Quy - A "Vietnamese Gem" at JGW 2026
Among 3,000 exhibitors from 46 countries and territories at Jewellery & Gem WORLD Hong Kong 2026 in Hong Kong (China), Phu Quy stands out with gold, silver and Vietnamese cultural stories.
From the legend of Chu Dong Tu - Tien Dung and the Vietnamese Dragon motif to Hue court arts and Hang Trong folk paintings, the brand is transforming cultural elements into a contemporary jewellery language to engage global audiences.
A Vietnamese Space in the Heart of JGW
International booths at JGW 2026 are vying for professional buyers’ intention. In the Fine Design pavilion, Thailand’s Mian Teck Jewelry Export showcases its 18K gold and platinum Gemstone Flower Basket double brooch at center stage. Another design features a carved 10.59-carat emerald set between symmetrical peacocks, evoking Indo-Mughal art.
Hong Kong’s On Tung highlights a necklace of 39 natural jadeite beads. Orchistra Inc draws attention with rare gemstones, including an unheated 82.88-carat Ceylon sapphire pendant set on a white enamel and diamond necklace, along with an unheated "Crimson Red" Mozambique ruby ring. New York’s LJ West Diamonds presents rare natural fancy color diamonds.
Amid these displays, Phu Quy stands out by focusing on centering Vietnamese stories through contemporary jewellery design and craftsmanship.
(From JGW September 2026 Show Daily/JNA and HKTDC corporate profiles)
The Hong Kong Convention and Exhibition Centre (HKCEC) has been bustling since opening its doors on September 16. Crowds of buyers, manufacturers, designers and brand representatives from different countries were pouring into exhibition halls. Handshakes, business card exchanges and discussions filled the aisles in front of glass cases gleaming with gold, diamonds, gemstones and fine jewellery.
This marked the opening of the exhibition area within Jewellery & Gem WORLD Hong Kong (JGW September) 2026. Two days earlier, the first phase of JGW launched at AsiaWorld-Expo, showcasing loose diamonds, colored stones, pearls and precious materials. Together, the two venues are creating a complete trading platform spanning raw materials, finished jewellery, equipment and jewellery technology.
Located in the Premier Section, Phu Quy Group features an open booth on nearly 30 m², where a lacquer painting by artist Pham Mai Chau divides the space and establishes a continuous visual identity.
On one side, Phu Quy’s Vietnamese Dragon silver line stands out against a sleek black lacquer backdrop. The design team has applied a minimalist approach to the dragon, a familiar symbol in Vietnamese culture, for its key silver collection.
On the other side, pieces from the Gap Go (Encounter) collection are set against a rich red lacquer background. Inspired by the legend of Chu Dong Tu and Princess Tien Dung, the 18K gold jewellery collection translates imagery of rivers, waves, sand and convergence into sculpted jewellery lines.
In an exhibition filled with colored diamonds, jadeite, massive gemstones, and intricate technical displays, Phu Quy chooses to use Vietnamese culture to link its products and build a unique brand identity.
What Phu Quy Brings to the World Stage
At JGW Hong Kong 2026, Phu Quy showcases 35 products of 7 core categories: High Jewellery Gap Go, Stepping out from Heritage, Phu Quy Vietnamese Dragon, Phu Quy Fine Silver, Phu Quy Mascot Collection, Phu Quy Vajara Collection and Auspicious Sacred Emblems.
Together with the Gap Go gold collection, the fine silver collection demonstrates a fresh approach to Vietnamese heritage.
JGW September 2026 - The Convergence of the Global Jewellery Supply Chain
Jewellery & Gem WORLD Hong Kong 2026 takes place from September 14–20 at two venues in Hong Kong (China), gathering approximately 3,000 exhibitors from 46 countries and territories.
From September 14 to 18, AsiaWorld-Expo hosts three specialized fairs on colored gemstones, loose diamonds, pearls and precious materials. Running from September 16 to 20, the Hong Kong Convention and Exhibition Centre features finished jewellery, fine design, packaging, tools, equipment, and jewellery technology.
This "One Fair, Two Venues" format enables buyers to access the entire supply chain, from loose raw materials to market-ready finished pieces.
Apart from exhibitions and trade activities, this year's edition features the GEM+ conference on the colored gemstone market, the NextGen Colored Gem Excellence Awards for emerging talents, and Sublime Shine 2.0, a precious metals craftsmanship show organized with the World Gold Council and Platinum Guild International. Organizers have also introduced an AI-powered exhibitor search tool to help buyers quickly compile lead lists and locate relevant booths.
(Source: Informa Markets/JewelleryNet)
The 1-kg Phu Quy Qilin Statue, crafted from 999 fine silver, draws direct inspiration from Hue decorative arts. Meanwhile, the 1-kg Phu Quy Fortune Silver Horse Statue, also in 999 silver, adapts horse imagery from Hang Trong folk paintings which represent luck, fame and success.
Rather than using heritage as surface decoration, Phu Quy incorporates traditional icons, patterns and stories into its design, sculpting and crafting process.
Another example is the series inspired by the eight-petal lotus motif in Hue court arts. Artisans have adapted the pattern onto silver plates and medallions, using surface treatments to create sharp contrast between glossy and matte finishes that catch the light in shifting visual effects.
This approach aligns with the vision shared by Tran Hoang Anh, Brand and Product Director, that an international jewellery piece’s value is not just its design, but crafting technique, proportions, materials, storytelling, and market response.
According to Tran Hoang Anh, reactions from international buyers on the first day of the event showed encouraging signs. Many visitors were attracted by the forms, surfaces, and fluid movement of the designs before learning that the collection was inspired by a Vietnamese legend.
“The interesting part is that after discovering the story behind it, they realize these seemingly modern designs are actually rooted in an ancient Vietnamese love story,” he said.
He emphasizes that a Vietnamese brand does not need to copy international design languages to be recognized. Instead, it must dive deep into its own cultural roots, native materials and artisanal craft, then translate them into modern design thinking.
Letting Design Speak First
Cultural products often struggle to reach international audiences. Phu Quy is solving this by putting striking design first and letting the cultural narrative speak for itself.
Nam, 28, a Vietnamese living in South Korea who attended the show for the fifth time, was impressed by how Phu Quy as a Vietnamese enterprise has invested heavily in its booth to stand shoulder-to-shoulder with global brands.
For Hoang Tra Huong, a representative of Van Xuan Gold and Silver, the reaction is deeply personal. Looking at Phu Quy’s sophisticated gold jewellery sets in Hong Kong, she was so proud seeing Vietnamese jewellery make a strong presence on the global stage.
While these reactions were only initial market signals, at a B2B show, buyers walking in, observing, asking questions and keen to learn the story behind a product is the first step toward building lasting partnerships.
This is JGW's primary value for participating brands, where products do not sit in isolated cases, but compete against thousands of options under direct evaluation by trade professionals.
Phu Quy’s Similarity with Japan’s Design Philosophy
Japanese Designer Keiko Ito presents the Nature’s Spiral collection, blending Akoya pearls, colored gemstones, and raden - an ancient Japanese decorative technique of inlaying iridescent mother-of-pearl onto surfaces.
By bringing a traditional craft into contemporary design, Ito shares a similar approach with Phu Quy at JGW 2026. While Ito incorporates Japanese raden inlay, Phu Quy draws on Vietnamese lacquer, Hang Trong folk paintings, Hue court arts and the legend of Chu Dong Tu - Tien Dung to forge a distinct identity for Vietnamese gold and silver creations.
Though differing in materials and forms, both approaches converge on a single philosophy: tradition is not merely surface decoration, but a core element of design thinking.
Ultimately, the question is not just how a product can gain global recognition, but whether it can clearly tell the world where it comes from.
(Source: Gemstone Today, “Jewellery and Gem World Hong Kong 2026: Dates, Venue and Visitor’s Guide”)
Second Return, a Stronger Stance
Unlike its exploratory first year at JGW, Phu Quy is returning proactively with an open-gallery booth. Dedicated spaces for themes like Gap Go and Stepping out from Heritage allow visitors to experience the physical designs before exploring their cultural stories.
“We want to shift from waiting for visitors to view our products to actively creating a space that invites them to walk in, explore and start a conversation,” said Tran Hoang Anh.
This proactive mindset extends to how the company is engaging prospective clients, distributors and partners. Meetings at JGW are opening possibilities across multiple trade levels: raw material sourcing, distribution, custom design, technology sharing, B2B manufacturing and OEM/ODM services.
On a broader scale, JGW is serving as a direct benchmark for brands to measure their capabilities globally. From product quality, booth presentation, and sales collateral to buyer interactions, every touchpoint becomes a clear metric for self-assessment and improvement.
For Phu Quy, the ultimate goal goes beyond making immediate sales or securing individual orders. The group aims to build a Vietnamese precious metals brand capable of developing proprietary designs, while seeking partnerships that build long-term capability and value. Direct market feedback from the show will also provide vital data for improving future product lines.
Phu Quy is just one among around 3,000 exhibitors at JGW 2026. Yet in such a crowded space, the question of identity becomes clearer than ever.
The challenge for Vietnamese jewellery on the world stage isn't just making a pretty product. Midst thousands of sparkling pieces in Hong Kong, the real challenge is making a busy passerby stop and ask: Where is this item from?
Story: Thien Huong
Photos: Thien Huong
Designed by Huong Thao/VNP