Interviews med Hanh Truong

The Galaxie Collection was inspired by a profound realization: both the Big Bang and the ancient philosophy of Taichi describe infinite potential held within a single point, waiting to unfold into balance and creation. Australian Crystal Opal became my universe in miniature—a gemstone where galaxies seem to swirl within its depths, colors shift like nebulae, and flashes of fire echo distant stars. Each opal is unique, just as each individual’s connection to the cosmos is personal. The collection does not simply showcase beauty; it transforms jewelry into a dialogue with the infinite, making the cosmic intimate and the profound wearable.

I approached each piece as both an architect and a storyteller. The technical challenge was to honor opal’s low toughness nature while maximizing its play-of-color through proportion, light interaction, and structural care. Beyond engineering, my goal was to create jewelry with spirit—pieces that embody an inner soul, evolving with their wearer and revealing new depths over time. I wanted every Galaxie design to be more than adornment: to spark a moment of connection, a quiet reminder that we each carry a fragment of the universe within us.

Receiving the Silver A’ Design Award is a great honor for me personally as well as for my creative vision and design philosophy. I will preserve this work as part of my personal archive, while also continuing to evolve it. My plan is to develop updated versions of the design so that it can be adapted to different types of opals or reinterpreted with alternative materials, ensuring it resonates with clients of diverse tastes and styles. Yet no matter how it transforms, the core inspiration and original values of The Galaxie Collection will always remain intact.

It took me about seven to eight months to fully realize the concept. Every opal demanded its own study—its size, fire, and transparency guided the design choices. I spent months sketching, building 3D models to test proportions and light behavior, and experimenting with techniques like black backing to enhance brilliance while symbolically echoing the cosmic void. The final stage involved close collaboration with artisans to refine each bezel, curve, and detail until the jewelry became not only structurally secure but also a poetic reflection of the collection’s philosophical inspiration.

This design was not commissioned; it was born from inspiration and personal conviction. The seed was planted long ago when I gifted my wife the first piece of jewelry I ever bought—an act that revealed to me jewelry’s power to carry emotion and memory. During the pandemic, with time to reflect, I began exploring how architecture, philosophy, and opals could converge into a new language of design. The Galaxie Collection was the natural outcome of that exploration.

All designs are currently produced by my studio, Palomy, in Hanoi. I personally oversee every step—from stone selection and sketches to CAD refinement and final polishing. While I remain open to future collaborations or licensing opportunities, it is essential that any partnership respects the integrity of the story and craftsmanship behind each piece.

As an architect, I was always fascinated by proportion, balance, and light. Jewelry offered me a more intimate canvas—something to be lived with, not just admired from afar. Opal, with its shifting galaxies of color, became the perfect material to explore my fascination with transformation. Designing jewelry allowed me to merge my structural discipline with storytelling, creating wearable architecture infused with poetry.

I draw inspiration more from ideas than from specific designers. The flowing lines of Eastern aesthetics, the precision of Western geometry, and the symbolism of cosmic philosophy shaped The Galaxie Collection. Still, I owe much to artisans who have worked with opals for generations—their quiet mastery taught me how to respect and protect such a delicate stone while allowing its brilliance to shine.

The collection is created for individuals who see jewelry as more than ornament. To them, a jewel is not simply a beautiful object, but a lifelong companion—a confidant that carries their stories, memories, and identity. They are thinkers, dreamers, and seekers of beauty who resonate with philosophy and personal storytelling. The Galaxie Collection speaks to those who wish to wear not only gemstones, but also ideas, finding in each piece a trusted friend that reflects and grows with them over time.

What makes it unique is the way it fuses philosophy with engineering. The opal is not just a gem here; it is the Taichi, the origin point, the cosmic singularity. The bezels are not only protective structures but golden arcs of expansion and harmony. Every detail, from black backing to the cushion hexagon silhouette, carries symbolic weight. It is jewelry that is both deeply personal and universally resonant.

“Galaxie” emerged naturally. It reflects the fire pattern within certain opals, known as a “galaxy,” and ties directly to my cosmic inspiration. At the same time, Galaxie is the French word for galaxy, which adds a poetic nuance and an international flair to the name. It bridges science and art, symbolizing both the vastness of space and the intimacy of holding a universe within a single stone.

I began with hand sketches to capture raw emotion, then refined them using CAD and 3D modeling software. These tools allowed me to test proportions, simulate light behavior, and collaborate effectively with artisans. Final realization involved traditional goldsmithing techniques—melding digital precision with human touch.

The most distinctive feature is the interplay of opal and structure. Crystal opal, while luminous, has relatively low toughness and can be prone to damage if not handled with care. To honor this nature, I developed settings that cradle the stone while amplifying its fire—custom bezels, protective arcs, and black backings that serve both practical and symbolic roles. Moreover, no two opals are ever the same, which means each piece in the Galaxie Collection carries its own character and beauty. This combination of protection, revelation, and individuality is what makes the collection truly unique.

Yes, I collaborated closely with skilled goldsmiths and stone setters who have experience handling gemstones with low toughness like opals. Their technical precision ensured the stones remained secure, while their artistry allowed the opals to reveal their full brilliance. It was a dialogue between my architectural vision and their inherited craftsmanship.

Technology was my partner in choreography. Through 3D modeling and optical studies, I simulated how light would move across the jewelry and interact with opals under different conditions. This precision reduced guesswork, enabling designs that balance comfort, strength, and brilliance. Yet the final soul of each piece still comes from handcraft—the warmth of touch that technology cannot replicate.

Yes. I conducted research on the optical properties of opal, studying how light passes through and reflects within crystal structures. I also explored traditional techniques like black backing, adapting them into my concept as both a technical solution and a symbolic metaphor for cosmic void. In addition, I drew from architectural research on proportion, ensuring harmony between gemstone and form.

The greatest challenge was working with opal itself. While luminous and full of fire, opal has relatively low toughness, making it vulnerable to cracks or damage if not carefully protected. Designing secure yet elegant settings required inventive solutions—protective bezels, flowing arcs, and subtle backing techniques that enhanced both strength and symbolism. Another challenge was ensuring that each piece balanced artistic philosophy with everyday wearability. Every curve had to move naturally with the body while still carrying the weight of cosmic inspiration.

I often asked myself whether my design philosophy could be understood and embraced by the world. Submitting to the A’ Design Award was my way of finding out—while also sharing my vision beyond Vietnam, connecting with an international community, and placing my work in dialogue with global perspectives. Winning the Silver Award proved to me that meaningful design truly transcends borders.

I often asked myself whether my design philosophy could be understood and embraced by the world. Submitting to the A’ Design Award was my way of finding out—while also sharing my vision beyond Vietnam, connecting with an international community, and placing my work in dialogue with global perspectives. Winning the Silver Award proved to me that meaningful design truly transcends borders.

If there is one message I want to share, it is this: jewelry, at its best, is not about luxury or ornament. It is about connection—between material and story, between wearer and meaning, between past and future. The Galaxie Collection is my way of saying that within something as small as a stone, one can hold the universe. And within something as intimate as jewelry, one can carry a personal cosmos.

I was trained as an architect, someone who would design beautiful and functional buildings tailored to each owner. Later, when I became a jewelry designer, I discovered a fascinating similarity between the two professions. In both fields, I not only apply artistic knowledge within the framework of strict functional requirements, but I also integrate cultural elements—those we absorb every day or tailor specifically for individual clients—to give each creation its own vitality, its own soul embodied in a tangible form.

Throughout my studies and professional work, I was taught how to construct and refine physical objects based on specific requirements, as well as how to approach problems strategically to achieve goals for myself and others involved. These experiences continue to guide me, opening pathways whenever a new idea begins to take shape.

I first began designing jewelry for myself—more specifically, for my wife. The pieces displayed in stores were beautiful, but I felt they didn’t fully meet my personal expectations or desires. That was the initial reason I started creating jewelry. Fortunately, my knowledge and skills as an architect allowed me to take those first steps and craft my initial pieces without too much difficulty.

Over time, I came to realize that jewelry still holds untapped potential—values and stories that have yet to be fully explored. I believe I can contribute, even in a small way, to enriching this field with more depth and meaning. This conviction has become my primary motivation to pursue jewelry design as a long-term career.

I tend to view things from a positive perspective, so I never felt there was any reason that “forced” me into this profession. To me, life is not just about two clear extremes; it is full of values that exist in between or alongside them.

While there were certainly circumstances that encouraged my path toward design, there were far more reasons that made me actively choose jewelry design. My love for art, gemstones, and fine craftsmanship—and my desire to create jewelry that enhances human beauty—are the main inspirations and motivations that led me to embrace this career.

I currently focus on designing traditional jewelry pieces such as rings, earrings, and necklaces. However, I believe there are many everyday objects around us that could be made more beautiful, more refined, and highly personalized.

My perspective aligns with that of applied arts designers—I see design as a way to elevate both form and function in the objects we use. In the future, I hope to expand my work into other fashion items, personal accessories, and even home décor pieces, with the goal of making them more beautiful, more meaningful, or at the very least, offering people a unique alternative.

Although I have been fortunate to receive a prestigious award from A’ Design, I still see myself as a newcomer on the journey of jewelry design. In my view, the most important quality a design legend should have is a pure and powerful love for creative artistic design.

This love can be nurtured by good health, family happiness, self-awareness, and an open-hearted empathy toward the people around you. Beyond that, a solid foundation in art knowledge and the accumulation of life experiences day by day provide fresh and insightful perspectives. These are what help guide my work and allow each piece to become more refined and meaningful.

We all know that the artistic beauty of a piece is the most important factor in evaluating a good designer. However, to become a great designer, their creations themselves must be truly great.

To me, a great design is one that carries intangible values—philosophies, stories, or hopes that hold deep meaning for its owner or those who appreciate it—forming the very soul of the artwork. These intangible values often outweigh the material value, sometimes by far.

Another essential element is the hand of the artisan, which serves as the precious bridge between the material form and the soul embedded within the piece.

In my opinion, a good design is one that fulfills the fundamental objectives of creating the piece—such as functionality, durability, and beauty according to common aesthetic standards.

A truly good design, however, goes beyond simply meeting these expectations. It provides an exceptional user experience throughout its lifetime, sometimes even exceeding the original expectations of the owner.

A good design ensures reliable functionality, lasting durability, and aesthetic beauty—qualities that can be explained by the designer or gradually discovered by the owner over time, making the piece truly valuable.

Beyond these tangible aspects, good design also carries intangible values that connect deeply with its owner—serving as a constant reminder of meaningful goals or cherished memories. You might like or even love a beautiful design at first glance, but once you understand its deeper meaning, you truly fall in love with it.

With values like these, should one invest in good design? I believe the answer becomes clear on its own.

At the moment, most of my time is fully occupied with ongoing work—whether it’s for clients or developing annual product lines. However, if I had more time, I would love to continue developing some unfinished projects that explore new jewelry solutions.

These projects aim to enhance the user’s experience of what “jewelry” can mean—approaching it from different perspectives and expanding the way we understand and connect with these wearable pieces.

Yes, absolutely—I do have a design project that I consider very special, which I haven’t had the time to fully develop yet. It’s a jewelry collection that carries completely new messages and introduces a fresh way of wearing and experiencing jewelry.

I believe it’s something women will find truly intriguing and delightful to try. I sincerely hope I’ll have the opportunity to unveil it on A’ Design in the near future.

I don’t have any special secret for achieving what I have today—just the things I’ve already shared with you. But perhaps, on a personal level, I’ve been fortunate in ways that have helped me a lot during the creative process.

One thing I often do is engage in creative work whenever I feel truly relaxed and happy. I believe that creating in this state of mind helps breathe life into my designs and gives them an energy that others can feel.

I know there are many renowned brands and designers around the world, and there’s certainly a lot to learn from them. However, I aim to create my own unique style and develop fresh design solutions.

To do that, I seek inspiration from life itself—rather than from any one individual. It’s through observing everyday moments, emotions, and experiences that I find the creative spark I need.

I have a fondness for—and collect—silver ballpoint pens from Tiffany & Co. I admire this brand because it is both iconic and longstanding, with talented designers and a wide range of products that span various market segments and applications in everyday life.

What I appreciate most about these pens is the user experience. The mechanical details are durable and smooth, and the silver casing offers a sense of elegance and longevity, even after extended use. In terms of design, they are simple enough, yet still retain the sophistication of a prestigious brand.

All of these elements combined make me truly admire the design—and genuinely enjoy using it every day.

The design I consider most valuable is a solution that connects a necklace to the straps of a bra on both sides, rather than wrapping it around the neck.

This approach helps relieve the neck from friction, especially when wearing heavy chains or pendants. It's particularly beneficial for those with sensitive or delicate skin that may be easily irritated by physical contact.

This design is still in development, but I hope to have the opportunity to present it on A’ Design in the near future.

I wouldn’t dare to give advice on how someone should become a better creative designer—but I do believe that beyond technical skills, we shouldn’t forget to seek inspiration from the life around us.

To do that, it's important not to overlook your own well-being—take care of your health, and cherish the happiness you find in family, friendships, and all the other aspects of your life and work. These are the foundations that quietly nourish creativity.

I have a deep appreciation for applied arts, having been trained in the field and worked in related areas for over 20 years. So it’s quite hard for me to imagine doing anything outside of design.

If I hadn’t become a jewelry designer, I would probably still be an artworker—perhaps working in another field like home décor, where I could continue to create and bring beauty into everyday life.

To me, design is the process of transforming invisible needs—often expressed only through words—into tangible creations that can be held, admired, and used.

The value of a “designer” lies not only in addressing those initial needs but also in delivering aesthetic beauty and deeper emotional meaning—whether drawn from the designer’s own perspective or, even better, from a deep understanding of the client’s style and innermost desires.

In my view, a successful applied design consists of three elements: technical precision, artistic expression, and something intangible—an invisible magic that reflects the unique soul of the designer.

That would be my wife. She has stood by my side and supported me in every aspect of life and work—through nearly every stage and across nearly every area of the brand we’ve been building together.

That would also be my wife. I forgot to mention earlier—she’s not only my greatest supporter, but also the inspiration behind The Galaxie Collection and many of our other designs.

Designers usually know from the very beginning who their work is intended for—or at least who is most likely to care about it. That’s why the first step should be to present the work to experts and to the people who might actually use or appreciate it. This helps the design gain early recognition, feedback, and evaluation.

As for how to present it, that depends on the nature of the work itself, as well as the personality and style of the designer. Each creation may call for a different approach.

I have many design concepts in development, and I plan to gradually bring them to life in the near future. It would be a great honor for me to introduce them through A’ Design.

At the moment, I haven’t set a specific benchmark or destination for my brand. I’m still deeply focused on designing, and my biggest aspiration right now is to share my design inspirations and jewelry creations with as many interested people as possible.

As a customer, I would expect to place a great deal of trust in the designer—based on their reputation, previous works, and the explanations or background information I can explore to better understand their vision.

Beyond that, I would hope the designer can truly understand my needs and provide thoughtful design consultation, especially when it comes to creating custom-made pieces.

Designers can contribute to a better society in many ways—by optimizing the use of natural resources, promoting environmental awareness, and showing respect for labor across all sectors.

More importantly, through their creations, designers have the power to communicate meaningful messages about ethical values and higher spiritual ideals. In doing so, design becomes not just a visual or functional tool, but also a force for positive social impact.

I’m currently working on a fashion accessory project that excites me deeply—not only because of its artistic elements, but also because of the technical aspects I believe I can improve to make the product better.

You know, someone may not fully align with my artistic point of view, and that’s completely fine. But when it comes to technical design, the improvements and advantages are often more objectively visible. That means I have the opportunity to offer value to a wider audience—which, for me, is both a joy and a great honor.

It was a women’s ring in a classic style, with raised round dots along the band and around the setting of the center stone. The centerpiece was a beautiful Australian crystal opal—one of the very first I ever collected.

It was special because it was the first piece of jewelry I fully designed, created in 3D, and oversaw through production, using the very first jewelry-making knowledge I had acquired. Even more meaningful, I made it for my wife—and to this day, she still wears it every day.

These are the pieces that truly excite me—the ones that go beyond visual appeal and engage the senses on a deeper, more emotional level.

I hope that virtual reality technology will play a greater role in the design industry in the coming years—both as a tool to support the design process and as a way for users to preview and experience products before they are even made.

This would not only enhance creativity and precision for designers but also empower users to connect more deeply with the designs they choose.

I believe we’re continuing to move forward in every aspect of life—and design is no exception. As a result, future designs won’t just refine and reinterpret classical aesthetics; they will also explore entirely new forms of experience.

Moreover, design will increasingly integrate advancements in science and technology—such as smart assistance, health monitoring, enhanced communication, and precise information delivery. This evolution will bring design closer to people’s lives, not only visually, but also functionally and emotionally.

Each of my projects usually takes several months to complete. During that time, the initial concept needs to be tested and combined with many other elements in order to achieve a well-rounded and effective design.

“Can it be better?” is the question I constantly ask myself throughout the entire process—whether I'm refining the concept, producing the piece, or even revisiting it for future improvements.

For me, a new design project often begins with a simple desire: “It can be better.” And when that’s the case, there’s no better starting point than answering all the basic “Wh” questions—who, what, why, where, when, and how.

At other times, a fresh idea may just appear out of nowhere—and in those moments, all you need to do is start with “Make it real!” From there, you just keep moving forward.

Sharing the inspiration of life is my greatest motto as a designer. It’s how others can truly understand the deeper meaning behind my designs.

More importantly, it’s the most effective way to connect with people—because when we share authentic inspiration, we naturally attract those who resonate with it, whether they become supporters, collaborators, or clients.

I don’t think it’s possible to clearly separate the two, because this is a long-standing, mutual relationship where both constantly influence each other.

There are certainly times when we can clearly see designers setting new trends. And at other times, life’s evolving trends create the perfect conditions for new designers to emerge and grow. It’s a continuous exchange between creativity and context.

I understand that modern technology allows me to express my ideas more quickly and visually—whether for communicating with collaborators or during the design and production process.

Of course, there are times when I intentionally use more traditional techniques, such as hand-sketching or hand-making, especially for high-end handcrafted pieces. Both modern and classic approaches have their place, and I choose whichever best serves the soul of the design.

I use sketching software to begin developing concepts, followed by computer-aided design (CAD) programs to refine the details and prepare the designs for production.

Finally, photo editing and presentation tools help me showcase my work in a polished and professional way—making it easier to share my designs with a wider audience.

Color, material, and ambient are among the most important elements in design. These are the designer’s primary tools—the ingredients that create the first and often the strongest connection between the designer and others.

Through these elements, a piece can express meaning and emotion long before it ever needs to be explained through words or other forms. They are the silent language that speaks directly to the senses and the heart.

“Do you think this design suits me?”—that’s the question I hope people will ask after they’ve explored and connected with a design.

In my opinion, suitability is a fundamental and rational factor for each individual to consider, after the initial emotions and impressions have settled. It helps distinguish between fleeting inspiration and something that truly resonates on a deeper level—ultimately leading to a lasting bond between the wearer and the piece.

Respect—both for the design and the designer—is the first feeling that comes to mind.

After that comes curiosity. I’m always eager to learn more about the piece and the mind behind it. It’s a way for me to understand the work on a deeper level and also to enrich my own knowledge and perspective as a designer.

I’m currently an independent designer, and the partners I work with usually support the design process in various ways—by providing design briefs, offering feedback, or helping with final production.

I deeply respect and trust all of my collaborators, no matter what role they play. For me, connection and shared creativity are far more important than simply showcasing myself.

I know there are many talented and well-known designers from whom one can learn a great deal. But as you may know, I focus on drawing inspiration from nature and the everyday needs of life.

Additionally, I aim to build a design style that is uniquely my own. That’s why I try not to repeat what already exists. The elements I choose to carry forward are usually the most timeless and universal values—those rooted in classical foundations, rather than specific individual influences.

It was an old book about opals written for professionals. What struck me most was how it conveyed both the author’s passion and solid expertise in such a concise and accessible way.

The book was suitable for both beginners and experienced readers, and its greatest value to me was how it opened my eyes to the magical beauty of nature—through the vibrant, colorful world of opals. That experience had a lasting impact on how I view gemstones and design.

For me, hands-on experience and real-world practice have been the best ways to develop as a designer.

Feedback and interaction play a crucial role in helping refine and elevate my skills—even in the areas where I thought I was simply expressing myself. Each response offers insight, and over time, that process becomes the foundation for growth and mastery.

I would love to meet and learn from the veteran designers of Tiffany & Co.—those who created so many iconic designs that powerfully express aesthetic and cultural values, enriching the lives of individuals around the world.

Their creations are timeless, cherished across generations, and celebrated globally. To me, that represents the greatest value a brand can offer.

Proud, of course. I’m truly happy to have found such deep resonance and appreciation for my work. These awards and recognitions also allow more people to discover what I do—which is a value that’s hard to measure.

Achieving this certainly hasn’t been easy, but it also hasn’t been too difficult—because what I’ve done is simply express what I believe in and bring to life what I’ve been able to create.

I love the color Very Peri—the color of the year 2022—with its elegant blue tone blended with a touch of mysterious violet. It’s also wonderfully versatile and pairs well with many other colors.

I’m especially drawn to majestic natural landscapes, where I can truly feel the beauty of creation and be reminded that, even though I may be small, I’m still a unique part of it all.

There’s nothing quite like being in such a place on a crisp autumn morning, enjoying a hot cup of coffee that I brewed myself.

One of the most memorable moments I’ve had as a designer was the first time a female client reached out her hand to me so I could survey her finger for a custom ring design.

In that simple gesture, I felt a deep sense of trust and a beautiful connection between designer and client. It was a small moment—but one that reminded me how meaningful and personal this work truly is.

It’s a great day for me as a designer when I discover a breakthrough solution for one of my projects. Sometimes, even a kind comment or thoughtful feedback can lift my spirits for the entire day. Or when I finally find a new gemstone to add to my collection after many days of searching and waiting—that’s a special kind of joy.

To keep myself inspired each day, I might spend time admiring my gemstones, listening to music, or meeting with friends who are painters or artists from other fields. They often give me fresh perspectives or unexpected ideas that can spark something valuable for my work.

I don't think I showed any clear signs as a child—I grew up quite naturally, just like the other kids around me. However, my father was an architect, and I believe that may have had an influence on the path I eventually took and the outcomes I’ve achieved today.

I don’t have any specific opinion about what will happen a thousand years from now. The mystery of the future is, in fact, one of life’s greatest wonders.

However, I do hope that alongside the powerful advancement of science and technology, we will continue to create art and explore the beauty of the human spirit. I wish for a future where intangible values—those that enrich the soul—are cherished just as much as material progress.

I always hope that people will take the time to truly explore and understand my designs, rather than purchasing them based on a fleeting emotion.

To me, the greatest value lies in the deep connection and long-term harmony between the piece and its wearer. That lasting bond is what I always strive to create through my work.

With a background in architecture from Hanoi University of Architecture, I was trained in the art of precision, structural integrity, and balanced proportions—skills deeply rooted in both industrial aesthetics and fine arts that continue to shape my design philosophy today.

The seed of jewelry design was first planted in my mind 17 years ago when I selected the first piece of jewelry I ever gifted to my wife. That experience sparked a latent passion, but it wasn't until about five years ago, during the COVID pandemic, that this interest truly blossomed. The unexpected gift of time during lockdowns allowed me to fully immerse myself in this art form—researching, exploring, and teaching myself the craft of jewelry making.

This period of dedicated self-education became transformative—from freehand sketching and conceptual design to CAD modeling and hands-on metalwork. I created my first true jewelry designs during this intense period of discovery. Along this journey, I became particularly captivated by the mesmerizing beauty of Opals. The way they capture and transform light, revealing an ever-shifting play of colors and patterns from every angle, perfectly embodies what I strive for in my designs.

Opals became the catalyst that helped me refine my artistic voice, elevating my work to a distinctive fusion of architectural rigor and emotional storytelling. This unique approach—combining precise structural elements with deeply personal resonance—has become my professional signature in the world of jewelry design, born from a seed planted long ago but truly flourishing during a time when the world stood still.

My studio is nestled in the heart of Hanoi, Vietnam, where I've created a sanctuary for bespoke jewelry design that bridges traditional craftsmanship with contemporary vision. I specialize exclusively in creating one-of-a-kind pieces that tell a story—each a unique work of art rather than simply an accessory.

At the center of my creative approach is an unwavering commitment to Australian Opals. I've chosen these extraordinary gemstones as my signature element because their captivating play of color and light perfectly embodies the transformative nature of fine jewelry—revealing different facets of beauty depending on how they're viewed and worn.

What distinguishes my studio is the intimately personal nature of our process. Each creation is meticulously crafted from inception to completion—from carefully selecting the perfect stone and developing initial sketches to refining designs through CAD technology and applying the final polish. Nothing is mass-produced; everything is born from deliberate artistry.

I personally oversee every aspect of this journey, meeting with each client to understand their vision, developing designs that reflect their individuality, and managing the craftsmanship to ensure exceptional quality. This hands-on approach allows me to infuse each piece with both technical precision inherited from my architectural background and the emotional resonance that makes jewelry truly meaningful to its wearer.

For me, design is the sacred bridge between object and emotion—the point where precision meets poetry. It exists in that perfect balance between technical mastery—the exacting measurements and harmonious proportions I learned as an architect—and artistic intuition that speaks to something deeper within us.

When I design, I'm not just creating jewelry; I'm crafting a visual language that tells each wearer's personal story through the interplay of line, light, and color. The way an opal catches sunlight differently with each movement becomes a metaphor for how we reveal different facets of ourselves to the world.

At its essence, design is the art of transformation—applying aesthetic principles and creative vision to reshape raw materials and abstract ideas into something that resonates on a human level. When done right, it doesn't just adorn the body; it extends the wearer's identity and amplifies their voice without saying a word.

I'm passionate about creating statement jewelry that transcends mere accessories—pieces where architectural precision meets nature's artistry. Working primarily with opals, I'm captivated by their ability to transform with every movement, revealing new colors and patterns that mirror the multifaceted nature of the wearer.

My architectural background infuses each design with balanced structure and clean lines, creating the perfect framework to showcase the dynamic beauty of these exceptional gemstones. Whether crafting a radiant opal ring that captures sunlight like a prism or an elegant necklace that frames the face with subtle iridescence, I strive to create pieces that become extensions of the wearer's identity.

What truly excites me is the creative dialogue between metal and stone—how the precise angles of metalwork can enhance the fluid, unpredictable beauty of opals and other high-end gemstones. Each piece tells a unique story through this interplay, transforming technical craftsmanship into emotional resonance. This is where my passion lies: in creating wearable art that speaks to both the eye and the heart, celebrating the wearer's individuality through exceptional materials and thoughtful design.

Nothing captivates me more than Opals—a gemstone where nature choreographs an ever-changing dance of color and light. Working with these extraordinary stones requires more than traditional techniques; it demands a specialized approach that honors their intrinsic, magical qualities.

My design philosophy revolves around revealing the stone's living essence. I begin with hand sketches that capture the raw emotional potential, then transition to CAD software to refine structural precision—much like an architect plotting the skeleton of a building. The final stage returns to time-honored metalworking techniques, where human hands add those nuanced touches that transform a design from merely beautiful to truly extraordinary.

This synthesis—blending cutting-edge digital tools with traditional craftsmanship—mirrors the Opal itself: complex, multilayered, revealing different facets of beauty depending on how light touches it. Each piece becomes a narrative, not just of technical skill, but of the profound dialogue between material, maker, and wearer.

I feel most creative in two profound moments: when clients share their stories and when Opals reveal their hidden light.

During conversations, each client's narrative becomes a living blueprint—their joys, experiences, and aesthetic values transforming into potential design languages. It's an intimate cartography of personal expression, where every shared detail could spark the genesis of a unique piece of jewelry.

Then there are those meditative moments with Opals, studied under natural light. Each stone is a miniature universe, unfolding its own "story of light"—revealing unexpected galaxies of color that challenge me to capture their ephemeral beauty. These rough stones whisper design possibilities, their internal landscapes shifting like dreams caught between reality and imagination.

In both instances, creativity emerges not from grand gestures, but from careful, almost reverential observation—listening to the subtle nuances that most would overlook, and transforming those whispers into tangible art.

I concentrate on four core pillars in every design:

• Harmony with the Wearer: I design for both fit and personality—considering an individual’s proportions, skin tone, and lifestyle so each piece feels like a natural extension of themselves, not just an accessory.

• Function & Structure: Drawing from architecture, I obsess over balance and weight distribution, ensuring jewelry moves fluidly with the body and stands up to everyday wear.

• Light Interaction: Especially with Opals, I orchestrate setting angles, faceting, and metal choices to choreograph a “play-of-fire” that dazzles from every viewpoint.

• Emotional Narrative: From the curve of metal to the choice of accent stones, every detail carries symbolic meaning, transforming each piece into a wearable story.

Designing sparks an initial thrill of exploration, igniting my curiosity for what’s possible. I feel a calming satisfaction when I uncover the perfect connection between creative solutions and a client’s needs. This shifts to intense focus as I refine every detail, culminating in deep fulfillment imagining the finished piece bringing joy to the client.

When my designs come to life, I feel immense joy and pride, knowing the piece perfectly reflects the client’s essence. Seeing them wear jewelry crafted just for them, radiating brilliance and connection, creates a profound sense of fulfillment, as if their story shines through every facet.

A design is successful the moment it resonates with its owner at first fitting. It must be beautiful, comfortable, and authentically tell the client's story—while standing up to daily wear and enduring beauty. The truest triumph comes when, with each wear, the piece reveals another layer of its subtle craftsmanship and deepens the wearer's attachment, becoming not just jewelry but a fragment of their own soul.

When judging a design, I first envision how intuitively it will be worn and integrated into a wearer’s life. I look at three core aspects: balanced form for visual harmony, dynamic light interaction to bring the materials to life, and practicality—easy to wear, remove, and maintain over the long term. A truly successful design excels in all three, creating jewelry that’s both beautiful and seamlessly part of everyday life.

As a designer, my first duty is environmental stewardship—creating jewelry that's made to be worn daily and cherished for years. Such enduring pieces are the true antithesis of disposable culture, reducing resource consumption and minimizing environmental impact. On the social side, each design becomes a vessel for stories: symbols, traditions, and emotions woven into every curve and facet. When clients wear these creations, they're not just adorning themselves—they're expressing identity, preserving cultural narratives, and forging heartfelt connections that enrich our collective heritage.

I think design is moving toward true personalization, with clients expecting one-of-a-kind pieces tailored to their individual stories. Digital technologies will streamline ideation and rapid prototyping, but the heart of great design will always lie in artisanal craftsmanship and emotional storytelling. Looking forward, I believe design will more perfectly marry form and function—creating objects that meet modern lifestyle needs while delighting the senses. Above all, I think the future of design will honor and elevate traditional values, weaving heritage into contemporary creations that resonate on a deeply personal level.

My inspiration comes from a blend of personal connection, natural beauty, and cultural meaning.

Each design often begins with a conversation—through listening to my clients’ stories, values, and emotions, I uncover the personal essence that shapes the soul of the piece. These narratives give direction and depth to my creative process.

I’m also deeply moved by the beauty of nature, the small joys and experiences of everyday life, and the timeless symbolism found in different cultures. These elements offer a poetic language I translate into form and detail.

My understanding of traditional jewelry-making techniques allows me to transform those inspirations into something tangible and lasting. And at the heart of it all is the Opal—its shifting colors, mysterious depth, and organic individuality never fail to awaken new ideas.

Together, these sources of inspiration ensure each piece is not just visually beautiful, but emotionally meaningful and uniquely personal.

My design style is a quiet dialogue between timeless traditions and contemporary expression.

I often begin with ancient philosophies and inherited cultural values, distilling them into something subtle and elegant—something the wearer can slowly discover and connect with over time. I believe true beauty lies not only in outward form, but in the meanings embedded within: symbols, stories, and emotional resonance that reveal themselves gradually.

Rooted in my background in architecture, my designs reflect clarity in structure, balanced proportions, and clean, refined lines. I intentionally combine these formal elements with the organic beauty of materials like opals and precious metals, paired with deep cultural symbolism. Each piece is crafted to serve both an aesthetic and emotional purpose—designed not to impress at first glance, but to unfold its meaning gently, layer by layer, through the experience of wearing.

I was born and raised in Hanoi, where I was surrounded from an early age by the rich cultural heritage of Northern Vietnam. My childhood was filled with exposure to traditional symbols, folk aesthetics, and everyday rituals that quietly shaped my artistic sensibility. Later, studying architecture gave me the opportunity to explore broader East Asian philosophies, along with the refined symbolism and artistic structures found in classical design.

When I transitioned into jewelry, I became fascinated by Vietnam’s traditional craft villages and the intricate techniques of hand engraving and goldsmithing that have been passed down through generations. These experiences helped form my design language—one that blends structure and symbolism, contemporary form and cultural memory.

Living in Vietnam offers unique advantages: a vibrant domestic gemstone market, a deeply rooted tradition of skilled craftsmanship, and rich sources of cultural inspiration. However, there are still challenges. The role of the designer is not always fully recognized, and export logistics for high-value pieces like fine jewelry remain underdeveloped, making it harder to reach international clients.

Even so, I believe our cultural heritage gives us a meaningful voice in the global design conversation. Through thoughtful storytelling and craftsmanship, I aim to share this heritage in ways that feel both relevant and timeless.

When collaborating with clients or companies, I begin by collecting a thoughtful brief to understand their vision, needs, and expectations. We then engage in deep discussion about the intended design direction and the story they want their piece to tell—because to me, jewelry is not just decoration, it’s narrative.

Once we’ve aligned, I develop concept sketches and refine them through a collaborative revision process. Only when the design is fully finalized do I move into technical drawings and model preparation.

With the ambition to build a high-end handcrafted jewelry brand, I personally oversee every design detail. I don’t transition to production until every element feels resolved and intentional.

During fabrication, I work hands-on with experienced craftsmen—managing the process closely to ensure that the final piece faithfully translates both the artistic vision and the emotional essence behind the design.

My goal is to deliver more than just a beautiful object—I aim to create a meaningful, lasting piece that carries both craftsmanship and soul.

When working with a designer, I believe companies should understand that artistic creations often carry layered values—meanings that may not be immediately visible or easily judged at first glance.

In my experience, a successful collaboration requires time, mutual understanding, and trust in the creative process. When both sides commit to open dialogue and allow space for thoughtful exploration, I’ve found that the outcomes are far more meaningful and refined.

To me, a good designer is not just a talented one, but a suitable one—someone whose mindset aligns with the project's purpose, timing, and emotional goals. I believe finding that fit takes effort from both sides. As a designer, I rely on clients to provide a clear and thoughtful brief, articulate their brand values or aspirations, and take time to explore whether my design language, creative style, and philosophy resonate with their vision.

Beyond technical skill and lived experience, I feel a good designer must demonstrate clarity of thought and strong communication skills—to translate inspiration into design in a way that feels intentional and authentic. When there’s genuine synergy between vision, values, and communication, I believe the collaboration becomes more than just a transaction—it becomes a creative partnership with lasting impact.

My design process always begins with meaningful conversations. I take time to listen, understand the client’s vision, preferences, and the emotions they want the piece to convey. This exchange often sparks the initial ideas and helps align our creative direction.

From there, I begin hand-sketching to explore different concepts and visual forms. Once the concept takes shape, I translate the sketches into detailed CAD models, which allow for precise proportions and technical clarity. These 3D visuals are then shared with the client for review and feedback. This checkpoint is essential—we discuss, revise, and enhance the design together until it truly reflects their intention and my artistic standards.

After final approval, I move into prototype development, testing the piece in real-world dimensions and wearability. The design is then brought to life through traditional handcrafting techniques. I work closely with skilled artisans, overseeing every step of the process—from fabrication to finishing—to ensure quality, detail, and emotional resonance are fully realized.

The final piece undergoes thorough quality inspection before it’s delivered to the client. For me, this entire journey—from dialogue to delivery—is not just about creating jewelry, but crafting something deeply personal and enduring.

For young and aspiring designers, my biggest advice is to build a strong foundation—both technically and creatively. Learn essential design tools and software that will support your workflow, but also take time to understand core principles like proportion, structure, and how different materials behave. That knowledge becomes the backbone of good design.

Work alongside experienced professionals whenever possible. Their insights, failures, and accumulated wisdom are invaluable. But don’t forget to explore your own voice—dare to experiment, take creative risks, and trust your instincts. Some of the most meaningful ideas come from personal exploration.

Be confident in expressing who you are—your thoughts, personality, and creative point of view. That individuality is what sets your work apart. Stay curious about culture, society, and the world around you. The more you listen and observe, the better you’ll be at sensing what your clients truly need—even beyond what they say.

Most importantly, take the time to understand what makes you different, and stay true to that. Creative paths are rarely linear, but if you’re consistent and authentic, your work will find its voice—and its audience.

Don’t just aim to impress—aim to connect. That’s where real design begins.

Being a designer offers many fulfilling rewards alongside real-world challenges — and I believe it’s this balance that makes the profession both inspiring and humbling.

One of the most meaningful positives is the chance to express personal insight through each creation. It’s incredibly satisfying to see ideas take form, especially when they help clients feel more beautiful, confident, and seen. There’s also great joy in the creative freedom that design allows — from concept to completion — and in the emotional connection that often forms between designer, object, and wearer. That moment when a finished piece resonates deeply with someone is a quiet but powerful reward.

At the same time, the design process requires patience and discipline. Not every idea comes quickly — some need time to evolve, through deep thinking and trial. There's also unpredictability in how each project unfolds. For instance, when clients provide unclear briefs, frequently change direction, or impose tight deadlines, it can challenge the rhythm of creative work. These situations require adaptability, communication skills, and a calm focus to maintain quality while managing expectations.

In the end, I see both sides — the creative highs and the problem-solving demands — as essential to growth. Being a designer means continuously balancing inspiration with real constraints, and learning how to turn both into meaningful outcomes.

My golden rule in design is simple: form follows emotion.

To me, jewelry is not just about function or visual symmetry — it’s about how a piece makes someone feel. A design must begin with emotion: what it hopes to awaken, what it wants to carry, and how it will resonate with the person who wears it. Only then can its form truly serve its purpose.

In that sense, I see each piece of jewelry as a small vessel for memory, meaning, and personal truth. The curves, materials, and proportions are all shaped to reflect that emotional core. Without it, even the most technically perfect piece feels hollow. With it, even a quiet design can carry extraordinary soul.

The time it takes to design an object can range from two weeks to two months, depending on the complexity of the concept and the level of customization requested by the client.

Each piece follows its own timeline — some designs come together quickly, while others require deeper exploration and refinement to meet both aesthetic and personal expectations.

People can contact me at:

Email: hanhopalartist@gmail.com

Facebook: facebook.com/hanhopalartist

My blog: https://hanhtruong.com

One thing I would love to add is this: beyond every piece of jewelry I create, the most lasting value for me is the sense of gratitude I feel toward my clients.

Their ability to connect emotionally with the story behind the design, and the way they cherish the piece as something more than just an object, is incredibly meaningful. I don’t take that connection for granted. To me, it’s a quiet collaboration — one that transforms a design into something deeply personal, and makes the creative journey truly worthwhile.

1. In The Galaxie Collection, I chose to center the design around Australian Crystal Opal not merely for its aesthetic beauty, but for its philosophical symbolism. Among gemstones, opal is uniquely capable of displaying a full spectrum of vibrant colors within a single stone — colors that shift dramatically with light and angle, evoking a sense of wonder and mystery. To me, opal is not just a material, but a metaphor: something small in scale yet vast in meaning, capable of inspiring different reflections in different contexts — much like the origins of the universe or the essence of Taichi.The Big Bang theory and Taichi philosophy, though born from different cultural lenses, both describe a universe that begins from a singular point — an origin that appears simple, but contains within it all potential, waiting for the right moment to unfold. This conceptual similarity captivated me. I saw the opal as a visual and symbolic representation of that singularity: radiant, concentrated, and ready to expand.In my design, the opal becomes the Taichi — the still point from which movement begins. Its crystal clarity and brilliant fire reflect the latent energy just before transformation. From this center, two golden arcs emerge in opposite directions, symbolizing Yin and Yang — the dual forces born of unity — but also the diverging paths of creative evolution. They do not speak of destruction, but of expansion, growth, and harmony. Accent stones positioned along these curves represent the tangible, beautiful outcomes that arise from transformation — the “stars” born of a cosmic unfolding.Crystal opal, with its purity and luminous energy, was the natural choice for this concept. It embodies the idea of potential becoming form, of simplicity becoming complexity. In that sense, each piece in The Galaxie Collection is more than jewelry — it is a meditation on origin, balance, and becoming. The beginning of any journey — whether cosmic or personal — holds the greatest intensity. That’s the moment I wanted to eternalize in my design.

Crystal opal, with its vibrant fire and luminous purity, was chosen as the heart of The Galaxie Collection — a visual and symbolic representation of “Taichi,” the point of origin and dynamic balance in the collection. Its brilliance made it ideal for expressing the concept of cosmic energy and birth. Yet, that same transparency presented a unique technical challenge. While crystal opal is celebrated for its color-play, its transparency can sometimes diminish the intensity of its fire. This is where the well-established technique of black backing becomes invaluable. By placing a dark foundation beneath the stone, we can dramatically enhance its chromatic depth — ensuring that the opal’s internal fire remains bold and vivid. In The Galaxie Collection, I implemented black backing not only as a technical solution, but as a meaningful design element. Symbolically, the dark base represents the primordial void — the silent expanse of space before the Big Bang. It became a conceptual anchor for the collection, amplifying both the stone’s brilliance and the narrative of emergence, transformation, and balance. Technically, applying the black backing was relatively straightforward, but refining it to meet the collection’s aesthetic and symbolic standards required careful calibration. I worked on surface finish, layering, and integration with surrounding elements to ensure it felt intentional and elevated, rather than purely functional. This experience showed me that even time-honored techniques like black backing can continue to evolve. In future collections, I hope to explore more advanced variations — solutions that not only enhance performance, but also allow the backing itself to become a poetic extension of the cosmic narrative.

The cultural synthesis in The Galaxie Collection reflects my belief that meaningful design emerges when form and philosophy come together. Rather than choosing between Eastern and Western approaches, I sought to create a dialogue between them — one rooted in structure, symbolism, and the emotional experience of the wearer. Western design traditions often emphasize proportion, geometry, and technical clarity — a language of control and refinement. Eastern aesthetics, by contrast, tend to prioritize symbolism, intuition, and narrative. While the West shapes the object to serve function and form, the East infuses the object with spirit and story. In The Galaxie Collection, I applied this dual perspective through both concept and execution. The curved golden arcs draw from Eastern fluidity — inspired by Taichi’s flowing duality — while the hexagonal base structure references the geometric precision of Western form language. The opal, placed at the center, becomes the Taichi itself — a spiritual origin point expressed through a technically calibrated bezel and carefully proportioned setting. To ensure the fusion extended beyond philosophy and into practice, I used 3D modeling to refine the curves and angles of each form — achieving balance between flowing energy and structural clarity. The proportions of each piece were also considered in relation to the body, with subtle adjustments made to ensure that the symbolism never compromised comfort or wearability. This approach reflects my larger vision for modern jewelry: to create pieces that are not only beautiful, but also meaningful — designs that resonate intellectually, emotionally, and physically. Through the fusion of cultural perspectives, The Galaxie Collection becomes a quiet conversation between logic and spirit, between ancient wisdom and contemporary craft.

Receiving the Silver A' Design Award for The Galaxie Collection affirmed one of my core beliefs: that truly exceptional jewelry is not a compromise between art and utility, but a harmony of both. Over time, I’ve developed a framework to evaluate each design based on its intended category — whether it’s a conceptual piece, ceremonial jewel, or luxury object for daily wear. Each type requires a unique balance of meaning, style, functionality, durability, comfort, refinement, complexity, and cost. With The Galaxie Collection, my goal was to create high-end jewelry that could live with its wearer — not just be admired, but worn, moved with, and felt. The collection draws its inspiration from cosmic motion, feminine transformation, and the vibrant energy of crystal opal. These themes naturally led me to design for women who are philosophical yet practical, who value both narrative depth and everyday elegance.Balancing expression with function meant making precise technical decisions. The bezels were engineered not only to protect the opal, but also to allow it to receive as much ambient light as possible — maximizing its brilliance while preserving visibility into its depth. The black backing enhanced the opal’s fire by creating visual contrast, but it also served a structural purpose — conceptually symbolizing cosmic darkness, and technically offering foundational support.I also paid close attention to how each curve was resolved — ensuring that no edges would catch on clothing or disrupt movement. These flowing forms were carefully refined through modeling and wear-testing to prioritize both comfort and practicality. Equally important was the versatility of each design. I aimed for pieces that could be worn seamlessly with a range of outfits and styles — allowing the jewelry to become a part of the wearer’s daily rhythm, rather than reserved for special occasions alone.I used 3D modeling to test proportions and simulate movement, ensuring that each piece maintains a sense of elegance without compromising strength. Accent stones were placed with equal care — not only for beauty, but also to support wearability, structural balance, and overall harmony in composition.Craftsmanship, to me, is not just about finishing a piece to perfection — it’s about anticipating how it will be lived with. A fine piece of jewelry should be tactile, enduring, and increasingly meaningful with every moment it spends with its wearer.In this way, The Galaxie Collection aims to be more than just beautiful jewelry; it aspires to be a daily companion — one that quietly reflects the strength, grace, and story of its wearer.

In designing The Galaxie Collection, one of my main priorities was orchestrating how light interacts with the jewelry — not just as illumination, but as part of the narrative. Because jewelry is worn on the most visible parts of the body, its visual performance under shifting angles and lighting conditions becomes crucial. I wanted each piece to do more than sparkle — I wanted it to perform, to move, to breathe with the wearer. To achieve this, I approached material selection with both scientific precision and symbolic intent. The crystal opal, with its ethereal play-of-color, was chosen as the center not only for its visual fire, but because it represents cosmic energy — dynamic, unpredictable, and alive. Through optical spectroscopy, I studied how different opals responded to varied lighting environments. This helped me select stones with the most vibrant spectral shifts, ensuring the “cosmic core” of each piece would remain captivating in real-world conditions.The gold bezel around the opal was crafted in yellow gold to symbolize the explosive energy of the Big Bang. But technically, it also serves to create what I call a "rolling light effect": curved surfaces that capture and move light along their edges in two opposing directions — evoking the duality of Yin and Yang. The curvature, width, and depth of these forms were tested through 3D modeling, allowing me to simulate how light would travel across the surface and optimize the sense of motion. Accent stones were introduced to bring a secondary light behavior — small, flashing reflections set in white gold, producing a classical halo effect. Their placement was not just aesthetic, but calculated: the angles and metal finishes were selected to complement the central fire of the opal without overshadowing it. This created a layered composition of light — concentrated in the center, dispersed at the periphery, always shifting, always alive. 3D modeling was instrumental in refining these details. It allowed me to test different geometries, surface angles, and proportions in real-time, reducing guesswork and enabling precise communication with artisans. What once would have required multiple rounds of physical prototyping or imprecise sketches could now be visualized and validated before a single stone was set. Ultimately, technology became my partner in expressing something inherently poetic: the choreography of light. By integrating spectroscopy, 3D design, and traditional craftsmanship, I was able to shape not just form, but experience. This is where I believe modern jewelry truly evolves — when science, symbolism, and emotion converge through the lens of light.

A strong foundation in Applied Arts has allowed me to intuitively translate abstract concepts like feminine strength and transformation into tangible visual forms. Design, at its core, is a language — and when that language is used with intention, it becomes a powerful bridge between symbolism and materiality. In The Galaxie Collection, I drew upon this language to express layered aspects of femininity — not merely softness, but intuition, resilience, and grace under pressure. I began by incorporating curved lines in place of rigid angles. This is a fundamental principle in visual design: curves naturally convey fluidity, receptivity, and a sense of organic motion — all qualities culturally and emotionally associated with feminine energy. The eye motif was another deliberate choice. Universally symbolic of perception and emotional depth, the eye in my design represents the inner awareness and sensitivity often embodied by women. It speaks not only to observation, but to intuition — the kind of deep perception that transcends logic. Additionally, I employed a cushion hexagon silhouette as the underlying structural form in several pieces. The hexagon, with its symmetry and strength, symbolizes foundation and balance. By softening its edges into a cushion-like form, it gains warmth, gentleness, and a nurturing character — echoing the traditional feminine role as both protector and connector within the family unit. These visual choices — curved lines, the eye, and the cushion hexagon — were not decorative flourishes, but distilled expressions of complex values. They function as visual archetypes, simplified forms that carry symbolic resonance across cultures. By refining these forms and placing them within precious materials, I created jewelry that doesn’t just adorn, but communicates. In this way, The Galaxie Collection becomes more than an accessory. It is a wearable reflection of transformation — of feminine strength that is both fierce and empathetic, precise and intuitive. Through design, these abstract ideals find form, and through form, they become part of the wearer’s story.

Proportion plays a fundamental role in jewelry design — not only for achieving visual harmony, but for creating a collection that feels cohesive, wearable, and emotionally resonant. In The Galaxie Collection, dimensional balance was considered from three interconnected perspectives: how each piece relates to the human body, how the internal elements relate within a single piece, and how all components relate across the set as a unified whole. First, I considered the relationship between jewelry and the body — an essential factor in achieving both elegance and comfort. For example, the pendant’s size was calibrated to rest prominently on the chest without overwhelming the neckline. The ring face was proportioned to suit the average width and length of the finger, offering a sense of balance and presence. The earring studs were carefully sized to rest naturally on the earlobe — avoiding any sense of heaviness while still offering enough visual presence to reflect the identity of the collection. Next, I focused on the internal proportions of each piece. The central opal needed to command attention without overpowering the overall design. I carefully adjusted the relationship between the gemstone and its gold bezel, the accent stones, and the surrounding elements — ensuring that every component worked together in visual harmony. This careful calibration helped the design feel deliberate and cohesive, rather than overwhelming or disjointed. Finally, I considered how all three pieces relate to one another. Jewelry sets are often viewed as a whole before they are appreciated individually — especially when displayed. Achieving dimensional consistency across the pendant, ring, and earrings created an immediate impression of harmony and sophistication. At the same time, I wanted to establish a clear hierarchy. The pendant was selected as the focal point, with the ring and earrings thoughtfully scaled to support it — taking into account both visual balance and the natural dimensions of the chosen opals. This layered approach to proportion ensures that each piece feels individually resolved, yet collectively connected to a larger story. It’s not just about mathematical precision — it’s about guiding the eye, flattering the form, and enriching how the wearer experiences and emotionally connects with the jewelry.

As a newcomer to the field of jewelry design — a landscape already shaped by iconic names and celebrated works — I felt no urgency to compete through visual spectacle alone. Instead, I’ve aligned myself with a growing movement that seeks to restore emotional and symbolic meaning to luxury objects. The Galaxie Collection is my personal response to that philosophy — a commitment to creating jewelry that transcends ornament and becomes a vessel for inner experience.I believe the future of contemporary jewelry lies in its ability to connect — not only with the eye, but with the soul. Beyond beauty, a truly meaningful piece invites introspection. It holds memory, reflects identity, and offers a sense of presence. When symbolism is woven into precious materials with care and clarity, the result is something that feels alive — a companion, not just a decoration.In The Galaxie Collection, I worked to achieve this synthesis through both design language and technical execution. The eye motif symbolizes inner awareness. The cushion hexagon evokes protection and family. The flowing curves represent balance and transformation. Embedded in gold and crystal opal — materials revered for their purity and power — these forms are not merely decorative. They carry cultural and personal meaning, translated into wearable, tactile form.This approach, however, requires commitment from both the designer and the wearer. As designers, we must invest time in research, reflection, and symbolic clarity. It’s not enough for a piece to be attractive — it must also be intentional. At the same time, wearers must choose to engage with their jewelry beyond the surface — to reflect on its story, and allow it to become part of their own.Looking ahead, I see this model of design becoming increasingly relevant. In a world where meaning often feels fractured, people seek deeper connection in what they wear. Jewelry has a unique ability to carry that meaning — quietly, persistently, and personally. If The Galaxie Collection can inspire even one person to see jewelry not just as adornment, but as a mirror of self and spirit, then it has fulfilled its purpose.

My background in architectural design has profoundly shaped how I approach jewelry — particularly in how I give equal weight to function and aesthetics. In architecture, a structure must first serve its purpose — to shelter, to support, to endure. But its success is measured not just in utility, but in how it makes people feel, move, and connect. This belief — that true design must integrate both practicality and beauty — is a principle I carry into every piece of jewelry I create.Opal, with its luminous beauty and inherent fragility, demands exactly that kind of dual consideration. Before setting any stone, I study its physical and optical behavior — its hardness, durability, and most importantly, its individual play-of-color. No two opals are alike, and each one calls for a unique structural solution that highlights its strengths while safeguarding its vulnerabilities.In The Galaxie Collection, I treated each opal as both a visual focal point and a structural anchor. I placed the stone within a protected spatial zone — using elevated bezels, deep-set prongs, and sculptural gold arcs that frame and shield without obscuring. The golden arcs flanking the central opal were designed not only as symbolic expressions of expansion and duality, but also as protective forms to minimize accidental impact.From architecture, I also drew on the concept of “defensive detailing” — integrating structural protection in a way that enhances rather than disrupts the design. I looked to cantilevered elements and sunshades — forms that defend while expressing — and translated these principles into jewelry through fluid, intentional contours.I also learned from master opal setters and jewelers who specialize in fragile stones like emerald and pearl. These craftspeople taught me how to balance structural integrity with refinement, and how to respect a gemstone’s limitations while still presenting it confidently and elegantly.In this way, each opal in The Galaxie Collection is not merely set, but thoughtfully housed — with equal care given to performance and poetry. It’s this integration — of protection and presence, structure and symbolism — that reflects my design philosophy: that jewelry must serve and speak at once.

As designers, we are constantly driven by the impulse to explore, to observe what fascinates us, and to transform it into something shareable. For me, inspiration flows in three directions: from nature — intimate, tactile, and alive; from within — as a reflection of identity and memory; and from beyond — the vast unknown where imagination, philosophy, and hope converge. The cosmos belongs to this third realm. It is both an external mystery and an inner metaphor, and it continues to move me deeply.The Galaxie Collection marked my first exploration of this cosmic narrative. Through opal — a gemstone whose fire and depth seem to contain entire galaxies — I found a material language capable of capturing light, transformation, and mystery. The fact that “galaxy” is also a named fire pattern in opal felt serendipitous, as if the concept and material were destined to converge.Looking ahead, I see many opportunities to further develop this theme. Future Palomy collections may explore celestial phenomena such as nebulae — echoing opal’s swirling internal color; constellations — as symbolic systems of connection and navigation; or the aurora borealis — whose dance of light mirrors gemstone fire in motion. Each cosmic inspiration offers a distinct lens for storytelling and a new way to pair form with meaning.But beyond imagery, the cosmic theme also invites us to touch upon timeless emotional truths: awe, longing, renewal, purpose. These are not just abstract ideals, but real feelings that jewelry — when carefully crafted — can help us carry and express. My goal is to design pieces that are not only inspired by the universe, but that help wearers feel part of it.Rather than repeating The Galaxie Collection, I intend to expand its spirit — to deepen the dialogue between space, soul, and stone. With opal as my compass, I look forward to continuing this journey — guided by light, narrative, and the infinite inspiration of the cosmos.