How Chow Tai Fook’s creative director Nicholas Lieou is modernising jewellery designs for a new generation

In Hong Kong, mention gold and jewellery and immediately one name comes to mind – Chow Tai Fook. Since its founding in 1929, the brand has woven itself into the cultural fabric of the city, becoming a part of cherished milestones and special occasions across several generations.

For the brand’s creative director of high jewellery, Nicholas Lieou, Chow Tai Fook has been a part of his life since childhood. “As a child, every time we were invited to a wedding, I would go with my mum to Chow Tai Fook. She’d buy gold nuggets and gold peanuts. When new babies were born, we would always gift them the pure gold eternity bangles.”

Chow Tai Fook was founded by Chow Chi-Yuen as a jewellery store specialising in gold in Guangzhou, China. In the 1930s, Chow expanded the business with additional stores in Macau and Hong Kong. However, it was his son-in-law, Cheng Yu-Tung, who spearheaded the brand’s rapid growth in the 1950s after World War II, transforming it from a traditional gold retailer into a modern jewellery powerhouse, with stores all over Hong Kong and mainland China. The company is currently headquartered in Hong Kong. 

Cheng, who died in 2016, became a prominent business tycoon, expanding the family's influence far beyond jewellery. Today, the Cheng family empire has interests in real estate through New World Development and luxury hotels under the Rosewood brand, among others.

Chow Tai Fook marked its 95th anniversary in 2024, and a key focus for the almost century-year-old brand moving forward is enhancing its appeal to modern customers. Tasked with that responsibility is Lieou, whose role is to elevate the brand’s image and to come up with new signature collections that encapsulate its vision for the future.

A RETUN TO CULTURAL ROOTS

Lieou describes joining Chow Tai Fook as a homecoming. Born in Hong Kong, the designer studied jewellery design at Central St Martins, the Royal College of Arts and Fashion Institute of Technology in London and New York. After completing his studies, he went on to work with prestigious luxury houses, including with Tiffany & Co as director of design for high jewellery in 2015.

Lieou launched his eponymous label Mr Lieou in 2019 at Gem Geneva. He also designed a collection for Sotheby’s Diamonds in 2020.

Lieou has always been creative, but it was jewellery that truly captivated him. “I love jewellery because even in very small surfaces, or on a very small object, you can have all these minute details that make a very big difference.”

To Lieou, jewellery is “intimacy”. “It’s one of the few accessories, apart from clothing, that really touches your skin,” he said.  

After spending several years abroad, Lieou was keen to return home to Hong Kong to spend more time with his ageing parents. A serendipitous meeting with Sonia Cheng, vice-chairman of Chow Tai Fook, led to the opportunity to design high jewellery for the brand’s exclusive clients. Looking through Chow Tai Fook’s archives, Lieou was excited by the chance to reconnect with his cultural roots.

“Being away for so long in the UK and US and designing for other luxury brands, much of the iconography wasn’t my own cultural symbolism. Looking at the Chinese inspirations in Chow Tai Fook’s archives, from a Chinese perspective, was incredibly rewarding, as it marked a new chapter in my own design history and language as well,” Lieou enthused.

A CONTEMPORARY TAKE ON HERITAGE

In April 2024, Lieou’s role at Chow Tai Fook expanded to include enhancing the brand’s overall image. As a key driver of its modernisation, he is shaping new icons and design codes for the brand, including a distinct signature motif. The Rouge collection was launched to commemorate Chow Tai Fook’s 95th anniversary. It celebrates the Chinese concept of “fook”, which translates to blessings and fortune.

“Fook is a Chinese character that is highly symbolic for Chinese people. So we took this and made a series of rectangles and squares, creating a motif that maps across all categories of jewellery, from high jewellery, to diamonds, gemstones and pure gold. It’s about connecting the old with the new,” Lieou explained.

Inspired by the architectural beauty of Chinese windowsills, the design also incorporates red enamel in some pieces. “I wanted to make it a little bit more graphic and to also hark back to the former chairman’s name, which has red in one of the characters." "Tung" in Cheng Yu-Tung means red.  

The collection has been a success so far. According to Kent Wong, managing director of Chow Tai Fook Jewellery Group, sales of the Rouge Collection reached HK$2.4 billion (US$310 million; S$411.4 million) since its rollout in April 2024. “People were excited that we added a fashion element to a traditional motif,” said Lieou on the collection’s appeal.

More than just appealing to a younger demographic, Lieou says the Rouge Collection is designed to resonate across generations, with something available for everyone. In the process of brand modernisation, there is always a risk of alienating long-time customers.

“We approached it through different categories. Within the 18-karat gold category, for example, we made sure to design pieces suitable for all ages. There’s something for the older generation who may prefer diamond-heavy designs or have the purchasing power to invest in more important jadeite pieces,” Lieou said of the strategy.

Another collection that captures Lieou’s blend of modern sensibility and tradition is the Gate Collection. While inspired by the red lacquered doors of Chinese palaces, it takes a more abstract approach, using studs as the central motif. “You can see the different aspects of how we look at the door – from the top view, where we place the studs on the side, to where they go into the centre of the bangle. So you can see this continuation of our design language, where it’s streamlined, modern and easy to wear.”

GLOBAL ASPIRATIONS

As of 2025, Chow Tai Fook Jewellery's largest markets continue to be primarily in mainland China and Hong Kong. Specifically, around 82.5 per cent of the company's total revenue is generated in mainland China, amounting to approximately HK$89.7 billion in the financial year 2024, according to Wong.

In Singapore, the jeweller currently has seven stores. Wong noted, "In both the Singaporean and Chinese markets, consumers exhibit a shared appreciation for cultural values and tastes, particularly evident in their affinity for gold jewellery. This preference often gravitates towards heritage-inspired pieces and gold jewellery, influenced by cultural significance, gifting traditions, and perceived investment value." 

Across Southeast Asia, Chow Tai Fook has stores in the Philippines, South Korea, Malaysia and Thailand. The company is eyeing a global push as it seeks to boost its appeal to luxury shoppers, with a strong focus on the region. “The retail markets in Southeast Asia experienced significant growth over the past years, driven by strong domestic demand and a thriving tourism sector,” said Wong. “Our focus is on strategically expanding the Group’s presence in popular tourist destinations and areas with a strong appreciation for Chinese culture.”

Therein lies the question – how can a traditionally Chinese jeweller design for global audience? “It’s a fine line,” Lieou admitted. He approaches the challenge by streamlining motifs to create a more universal appeal. The Rouge Collection exemplifies this with its bold, graphic design, where the structured arrangement of blocks gives it a contemporary edge. Some pieces are also intentionally designed to look like gold bricks – a nod to Chow Tai Fook’s role in establishing the 999.9 gold standard in 1972. These symbolic elements resonate not only with Chinese consumers but also with an international audience familiar with Chinese cultural motifs seen in architecture, iconography, and literature.

When considering how a traditionally Chinese brand like Chow Tai Fook could compete with major Western luxury houses, Lieou acknowledges that market share is a key factor but emphasises a different approach. Rather than competing for market share, Chow Tai Fook will focus on building its own credibility by creating collections that naturally attract clients and appeal to a global audience.

“We are slowly transforming and evolving, especially with the new motifs we’re developing,” he explained. Lieou is confident that with continued innovation and international outreach, Chow Tai Fook will establish a stronger presence on the global luxury stage.

HIGH JEWELLERY FOR EVERY DAY

Beyond physical expansion, Chow Tai Fook is also looking at boosting its product lines, particularly in high jewellery. “High jewellery clients remain the most resilient luxury customer, particularly in Asia, amidst global volatility. We are boosting our high jewellery lines to meet rising customer demands for exclusivity and craftsmanship,” said Wong.

An upcoming collection launching in June will showcase Lieou’s vision for high jewellery, shifting the perception of these prized jewels being reserved for exclusive events, to something you can wear every day. 

“In the world of high jewellery, it's no longer just about the big gala necklace. Those pieces are still important, but they capture a moment in time,” Lieou explained. “What we want to create is jewellery you can wear daily – pieces that aren’t meant to just be locked away in a safe.”

The collection will also incorporate Chinese symbolism and other significant cultural motifs, reinterpreted into modern, elegant designs that blend exceptional craftsmanship, yet made to complement the everyday wardrobe. The launch will mark the first time the brand is unveiling a collection of this magnitude under Lieou's leadership.

When asked what he loves most about designing jewellery, Lieou reflected, “There’s so much going on in the world, and to create something beautiful is quite an honour.”

Emphasising the collaborative effort behind each piece, he mused: “It takes an entire village to bring these creations to life. The level of engineering involved is incredible. If we didn’t love what we do – if all of us didn’t – these creations simply wouldn’t happen to the standard that we make them to. It’s not a necessity to craft jewellery to this level, but we care deeply about every detail –the clasps, the hinges, how we make things invisible and how we highlight the stone. It’s these minute details that make me feel alive every day.”