As Dickson Yewn welcomed me into his boutique at Landmark Atrium in Hong Kong’s bustling central business district, he suggested we begin our conversation by exploring his latest book, launched just this past April. This invitation set the tone for a discussion that would reveal the essence of his creative journey—one marked by reinvention, passion and a commitment to artistic expression.
Yewn’s path has been anything but straightforward. From his early days sneaking into art classes in Paris to his time in the film industry, his experiences have woven a rich tapestry that informs his unique approach to jewellery design. This blend of influences allows him to merge his love for visual arts with his deep-rooted Chinese heritage and a desire for independent creativity.
Join Tatler as we delve into the insights of this creative maverick and discover his perspectives on the world of jewellery design and beyond.
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Your transition from fine art to jewellery design must have been quite a journey. Can you tell us more about that?
The transition was not a straightforward one. I started with fine art in high school but never formally studied it at the university level. Instead, I would sneak into art classes at the École des Beaux-Arts in Paris, attending with my art- student friends without officially enrolling. This early exposure to a formal art education laid the foundation for my creative pursuits.
However, my first true passion was actually the film industry. I spent about seven years working in the movie business, but eventually realised that the complicated web of personal relationships and deal making was not quite my cup of tea. That’s when I decided to explore the world of jewellery, which had always been a part of my family’s business.
What drew you to the world of jewellery, and how did you approach incorporating your diverse interests and talents into your designs?
I was drawn to jewellery because I felt it was a medium that allowed me to combine my love for fine art, my fascination with Chinese heritage and my desire for a more independent creative process. As a self-described historian at heart, I approached my jewellery design [in] a meticulous, systematic [way], almost like an anthropologist or social scientist.
My two upcoming books document how I use jewellery as a form of art to revive the material and non-material culture of China, drawing inspiration from everything from religious and philosophical traditions to historical motifs and symbols. It’s a deeply personal and multifaceted journey that allows me to weave together the various strands of my creative and intellectual interests.
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Your use of materials like wood in your jewellery is particularly intriguing. Can you tell us more about the significance of wood in Chinese culture and how it informs your designs?
Wood is absolutely integral to Chinese culture and civilisation. It’s the material that has been used to build homes, tools and even scientific instruments throughout history. Beyond its practical applications, wood also holds deep symbolic meaning, representing elements like compassion and culture in the Chinese philosophical tradition.
This deep-rooted connection to wood is why it features so prominently in my jewellery designs. The square shape of my iconic rings, for example, is a deliberate departure from the traditional round form, which I see as a symbol of confinement and oppression. The square, with its four corners, represents freedom and the ability to breathe—a powerful metaphor for the female experience.
Your work is often described as having a strong literary and artistic influence. How do these elements shape your creative process and the final pieces?
I approach my jewellery design with a deep reverence for the written word and the visual arts. My Literati collection, for instance, is a nod to the scholar-gentry class that once dominated the cultural landscape of China, before their influence was eroded by colonialism and modernisation. In my work, I aim to resurrect and celebrate this rich tradition of the Renaissance man—the scholar-artist who was versed in a multitude of disciplines, from poetry to philosophy to the fine arts. This holistic, interdisciplinary approach is reflected in the layers of meaning and symbolism that I weave into each of my jewellery pieces.
Your event launched a Literati Speak jewellery collection and a new art book. There seems to be a natural extension of this artistic and intellectual exploration. Can you tell us more about it?
The Literati is a celebration of the scholar-artist tradition that has been so integral to my creative journey. It’s an opportunity for me to bring together my passions for jewellery, art and the written word in a dynamic, multifaceted event.
Through this event, I hope to not only showcase my latest jewellery designs but also to engage the audience in a deeper exploration of Chinese cultural heritage and the role of the artist-scholar in preserving and reviving these traditions. It’s a chance for me to share my unique perspective and inspire others to embrace the richness of their own cultural legacies.
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