Phu Quy - A "Vietnamese Gem" at JGW 2026
Among roughly 3,000 exhibitors from 46 countries and territories at Jewellery & Gem WORLD Hong Kong 2026, currently taking place in Hong Kong (China), Phu Quy stands out with gold, silver, and authentic 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 traditional elements into a contemporary jewellery language to engage global audiences.
A Vietnamese Space in the Heart of JGW
International booths at JGW 2026 are making a strong impression on buyers
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. Meanwhile, Hong Kong’s On Tung has highlighted 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 is presenting rare natural fancy color diamonds.
Amid these displays, Phu Quy stands out by focusing on telling 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 are pouring into the exhibition halls. Handshakes, business card exchanges and discussions fill the aisles in front of glass cases gleaming with gold, diamonds, gemstones and fine jewellery.
This marks the HKCEC exhibition area under Jewellery & Gem WORLD Hong Kong (JGW September) 2026. Two days earlier, the first phase of JGW launched at AsiaWorld-Expo, focusing on 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 across 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 symbol 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 set 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 is making a strong impression by using Vietnamese cultural stories to link its products and build a unique brand identity.
What Phu Quy Brings to the World Stage
Phu Quy is showcasing 35 products across 7 core categories at JGW Hong Kong 2026: 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.
Alongside the Gap Go gold set, 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 across two venues in Hong Kong (China), gathering approximately 3,000 exhibitors from 46 countries and territories.
From September 14 to 18, AsiaWorld-Expo is hosting three specialized fairs focusing on colored gemstones, loose diamonds, pearls and precious materials. Meanwhile, running from September 16 to 20, the Hong Kong Convention and Exhibition Centre is featuring 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.
Alongside exhibitions and trade activities, this year's edition features the GEM+ conference on the colored gemstone market, the NextGen Coloured Gem Excellence Awards for emerging talent, and Sublime Shine 2.0, a precious metals craftsmanship showcase 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.
Rather than using heritage as surface decoration, Phu Quy’s strategy integrates traditional icons, patterns, and stories directly into its design, sculpting and crafting process.
The series inspired by the eight-petal lotus motif in Hue court arts offers another clear example. Artisans have adapted the pattern onto silver plates and medallions, using surface treatments to create sharp contrast between polished 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 of Phu Quy Group, that an international jewellery piece derives value not just from design, but from crafting technique, proportions, materials, storytelling, and market reception.
According to Tran Hoang Anh, initial international buyer feedback is offering an encouraging sign. Many visitors are showing keen interest in the forms, surfaces, and fluid movement of the designs even before realizing the collection originates from a Vietnamese legend.
“The interesting part is that when they discover the story behind it, they realize these seemingly modern designs are actually rooted in an ancient Vietnamese love story,” he notes.
He emphasizes that a Vietnamese brand does not need to copy international design languages to gain recognition. 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 visitor living in South Korea, notes that this is his fifth time attending the show. What caught his attention first was how 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 gold jewellery sets in Hong Kong, she expresses immense pride in seeing Vietnamese jewellery make a strong statement on the global stage.
While these reactions represent initial market signals, having buyers stop, observe, ask questions and seek the story behind a product marks the essential first step toward building lasting trade partnerships at a B2B show.
This reflects JGW's primary value for participating brands, where products do not sit in isolated cases, but compete directly alongside thousands of global options under direct evaluation by trade professionals.
How Does Phu Quy’s Approach Align with Japan’s Design Philosophy?
Designer Keiko Ito presented 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 path 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”)
A 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 refinement.
For Phu Quy, the ultimate goal goes beyond making immediate sales or securing individual orders. The enterprise aims to build a Vietnamese precious metals brand capable of developing proprietary designs, while establishing relationships that build long-term capability and value. Direct market feedback from the show will also provide vital data for refining future product lines.
Among around 3,000 exhibitors at JGW 2026, Phu Quy is just one of many. 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, look again, and ask: Where is this from?
Story: Thien Huong
Photos: Thien Huong
Designed by Huong Thao/VNP