Building a global brand in the crowded fine jewellery market is difficult. Standing out within it is even harder. Yet Pen Mané did it in a single outing. At their debut at the 2026 Couture show in Las Vegas, the independent brand won the Best in Innovative Design and Editors’ Choice, two of the show’s most coveted honours, announcing itself as a new creative force in contemporary fine jewellery.
The brand is founded by fashion executive Calvin Wang and jewellery veteran Vincent Guy-Raffin, whose career has taken him from Dior Joaillerie to Graff, David Yurman, and Hemmerle.
Their award-winning debut collection, Wild Coast, draws on the rugged coastline of Brittany, translating its dramatic rock formations into sculptural jewels.
Speaking from Hong Kong, Vincent and Calvin talk about celebrating their creative voice and earning international recognition at their first major exhibition with Shilpa Dhamija.
Your brand has built a distinctive design identity from its very first collection. Was that intentional, or did it evolve naturally?
Calvin: It was intentional and driven by an artistic vision rather than a market strategy. We approach design like architects, telling stories through form. For instance, our Wild Coast collection is inspired by Vincent’s family home called Pen Mané in Brittany, France. In the local dialect, Pen Mané means ‘overlooking the horizon’. It inspired our philosophy for the brand that is grounded yet forward-looking.
To reflect this philosophy in our jewellery, we partner with experienced artisans in Hong Kong whose exceptional craftsmanship brings high-jewellery standards to our narrative-driven pieces.
How will future collections express your signature style while being distinctive from the Wild Coast designs?
Calvin: Through audience interaction, the Wild Coast became our signature design. That said, it was only our first collection, and future ones will look different. We will not limit ourselves to one aesthetic; instead, our work will maintain continuity by remaining wearable and versatile. We aim to respond to the modern desires for jewellery, which can be enjoyed in many settings.
What was it like presenting Pen Mané for the first time at an exhibition and receiving immediate acclaim?
Vincent: Couture was our first exhibition as Pen Mané. Although I have been in the jewellery industry for over 20 years, presenting to the most respected experts was still intimidating. We arrived with open minds and zero expectations, viewing it as a learning experience rather than a sales opportunity. Everyone had warned us that establishing a presence here takes years.
To be welcomed on such an important international stage and then receive two awards was profoundly humbling. We genuinely did not expect it.
What surprised us most was the reaction from visitors to the Design Atelier. People would walk past our booth, stop, turn around, and come back for a closer look. Almost everyone who returned told us our work felt entirely different from everything else. That was the greatest validation we could have received. It confirmed that people understood our vision and our creative voice.
There is room for every designer in this industry, provided they bring something original. That diversity is exactly what keeps contemporary fine jewellery vibrant.
Sometimes emerging jewellery designers hesitate to exhibit at big shows because they fear their designs will be copied. Was that ever a concern for you?
Vincent: It is a valid concern, but I wonder if designers are afraid of being copied or if they fear losing the chance to establish themselves first. The reality is that imitation is almost unavoidable. In a way, it is a compliment because it proves your work has commercial value.
Calvin: While we protect our work through copyrights and trademarks, we cannot waste energy worrying about what we cannot completely prevent. Between us, we have more than three decades of experience in jewellery and fashion. We have learned that if you remain true to your vision, people may imitate individual pieces, but they can never replicate the creative journey itself.
We have always approached Pen Mané as a long-term project. We have brainstormed for nearly ten years and only launched recently. Our confidence comes from continuous innovation and trusting that our audience will recognise authenticity over time.
Furthermore, the creative process is incredibly vulnerable when you work alone. Having a trusted partner allows you to step outside your own doubts. It helps you stay focused on creating rather than worrying about what others might do.
Since launching Pen Mané, what have been your biggest learnings about the global jewellery industry? How do you see it evolving, particularly for independent designers?
Vincent: One of the biggest changes I’ve seen is that jewellery has become far more personal. For instance, twenty years ago, fewer men wore jewellery. Today, it’s no longer defined by gender. People choose pieces that express who they are, not someone else’s idea of luxury or pre-defined identity.
Another major shift is the increasing value of genuine human connection. Throughout my career, the designers, and brands I’ve admired and worked with – most have shared one quality: humility. Luxury no longer has to feel distant or intimidating. The jewellery may be rare and precious, but the experience should be welcoming and human. Clients want to know the craftsmanship, the inspiration, and the people behind a piece. Those connections create lasting value.
Calvin: Coming from fashion, Pen Mané has been an eye-opening experience. I used to be the buyer walking trade shows and choosing collections. At Couture, I was on the other side of the booth. It completely changed my perspective. As a young brand, every conversation mattered. Even someone stopping to ask a question or admire a piece was incredibly encouraging.
What surprised me most was how supportive the jewellery community is. At the Vegas show, designers spent the final day visiting each other’s booths, trying on jewellery, and exchanging ideas. Although we were busier after winning the awards, I still made time to do the same. It wasn’t the competitive environment people imagine. There was a real sense of community. Every designer brings a different perspective, and together those differences make the industry stronger.
Can you share an overview of your journey in the jewellery industry before launching Pen Mané?
Vincent: I was born and raised in Paris, where I began my career on Place Vendôme. My ambition was always to work in fine jewellery, inspired from the outset by Boucheron. I started at Poiray before joining Victoire de Castellane when Dior launched its fine jewellery division.
A defining moment came when I met Joel Arthur Rosenthal of JAR, whose work profoundly influenced me. He introduced me to Michelle Ong of Carnet, bringing me to Hong Kong in 2005. I later worked with Graff Diamonds before moving to New York to help David Yurman build the brand’s high jewellery division.
During the pandemic, I returned to Hong Kong to launch Hemmerle Asia before co-founding Pen Mané with Calvin.
Although my career was rooted in the business side of jewellery, design was always my creative outlet. For nearly a decade, I taught myself by investing my savings into one prototype at a time, learning through trial and error until I finally had the confidence to launch my own brand.