WALLIS HONG
This young artist-turned-jewellery designer from mainland China is creating waves in the world of haute joaillerie. He speaks to Tatler about battling Covid and finding inspiration in slowing down, and from moving from self-taught creativity to global recognition
What inspired you to get into jewellery design? Was there a specific moment or experience that sparked your interest?
It started six years ago when I tried to look for some jewellery for myself. I couldn’t find anything that I really liked, so I started getting interested in the designing and [creative use of] materials that make these pieces truly beautiful. On one of my trips, I visited Lisbon’s Calouste Gulbenkian Museum, where I saw René Lalique’s dragonflywoman corsage ornament. That moment solidified my ambition to become an artist, and the voice inside me [was clear]: I was going to create artistic jewellery pieces that could transcend time.
What have been some of the biggest challenges you’ve faced as you embarked on this career path? How did you overcome them?
My journey hasn’t been easy. I spent five years preparing myself, and building my art collections without any financial support. I just wanted to create some pieces that represent my inner world and show them at an exhibition without thinking too far about whether my art pieces fit the market or if they would be sold. When Covid hit, it became more difficult [to pursue my passion]. In order to realise my jewellery dream, I started a business to support myself while working a full-time job.
Months later, I was luckily discovered by Nadège Totah, the organiser of the Gemgenève exhibition, via social media. She invited me to exhibit my pieces in November 2022, and as a result of showing in Geneva last autumn, I was invited to speak at a conference at Vicenza Oro [Italy’s renowned fair for goldsmiths]. I was the first Asian creator to speak at that forum in the fair’s 70-year history. Since then, lectures and invitations from universities and prestigious organisations such as Milano jewellery week and Roma jewellery week, and many other opportunities to collaborate with leading jewellers and auction houses have come my way.
Where do you find inspiration for your jewellery designs? Do you have a muse, or look to other designers or artwork?
I focus more on fields such as sculptural art, painting, antiques, abstract arts and traditional crafts. I have a constant stream of inspiration from everyday things: a simple holiday, visiting museums, or even the weed that [grows] on the side of the road [that I notice] during a walk, or the kaleidoscopic figures in my imagination when I’m listening to music. Since I started designing jewellery, my pace has become slower and [I have] more patience than before. I prefer to stay in a quiet place and meditate to get inspired, and watch the sea with the wind in my face. Occasionally, I also get inspired in my sleep.
What is your creative process like? Walk us through how you go from initial idea to finished product.
When I am inspired, I make sketches, or sometimes I choose to work directly on the clay to be more inspired. Once I am satisfied with the initial model, I start to imagine how to combine the stones and the colours to make them blend better, then I choose the size of the design and the metal. For example, I will use titanium to make some of the pieces lighter or more comfortable. Then, I sculpt the wax model and cast the metal. Production processes follow, such as polishing, inlaying and colouring. There are many difficulties encountered in each process which need a lot of patience to fix. These one-of-akind pieces take months or even years to see the light of day.
What materials and styles do you most enjoy working with? Do you have a signature look or aesthetic?
I am obsessed with all things abstract, and with radiating forms. I prefer combining different materials with a touch of [inspiration from] marine life. I use gold, titanium and aluminium settings with natural gemstones and diamonds or any other materials that could express my ideas.