The Journal.

Created in England in the 1880s, a token from the era of Queen Victoria’s last years as Monarch.

The festoon garland necklace was a signature style of the Edwardian era, where light, open floral work was favoured amongst the upper crust of European society.

Created in colonial Malaya in the 1950s, this classic Peranakan bracelet was likely commissioned (originally as a pair) by a wealthy Peranakan family for their daughter on the wedding day.

In the earlier years of King Edward VII’s reign, jewellers started to use platinum in their work. Prior to that, white metal jewellery was only possible with silver.

The intricate late Georgian botanical metalwork with its signature rose-cut diamonds was originally a pair of buttons(!) sewn to an important piece of clothing that conveyed status, likely from a wealthy aristocrat or royalty.

This style of dangling earrings was heavily inspired by the Europeans, and yet, it was entirely and distinctly Straits Chinese in its aesthetic, given the jewellery techniques used and the preference for bright yellow gold and iconic intans.

The Kerosang is widely recognised as the most iconic piece of jewellery in Peranakan culture. Embodying the old adage that nothing exists in a vacuum, the Kerosang as we know it today was adapted and born from cultures around us.

Created in the USA, likely New York City, during The Gilded Age, this piece features the era’s signature motifs of naturalistic swirls and open work.

The phoenix is regarded as one of the most auspicious symbols in Chinese culture; an immortal bird whose rare appearance is said to be an omen foretelling harmony at the ascent to the throne of a new emperor and empress.