Cover The entrance to Pen Mané's Hong Kong home, where a door inscribed “Open Sesame” marks the arrival into the jewellery maison (Photo: courtesy of Pen Mané)
The entrance to Pen Mané's Hong Kong home, where a door inscribed “Open Sesame” marks the arrival into the jewellery maison (Photo: courtesy of Pen Mané)
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Fresh off a double win at Couture Las Vegas, the independent high jewellery house Pen Mané has opened its first Hong Kong space on Duddell Street—modelled not on a boutique, but on co-founder Vincent Guy-Raffin’s family home on the Brittany coast
Pen Mané has opened its first Hong Kong address, and the independent high jewellery house is at pains to point out that “showroom” isn’t quite the right word for it. Co-founders Calvin Wang and Vincent Guy-Raffin describe the Duddell Street space instead as a “jewellery home”—a concept built around the idea that “a jewellery house sells you something beautiful. A jewellery home invites you to stay a while. Pen Mané is our sanctuary—and now, it belongs to Hong Kong too,” says Guy-Raffin.
The arrival is deliberately choreographed. Guests enter through a corridor wrapped in Atlantic slate suede before reaching a door inscribed “Open Sesame”—a detail that borrows more from a speakeasy than from a jewellery maison. Guy-Raffin says that was exactly the intention. “We wanted every guest’s arrival to feel like being let in on something special—an invitation into intimacy, discovery, and anticipation, the same excitement I remember as a child pushing open a door and not quite knowing what I’d find. ‘Open Sesame’ captures that spirit of wonder, right from the very first step.”
Above The Pen Mané crest is built around a window taken directly from Guy-Raffin’s childhood bedroom at Villa Pen Mané (Photo: courtesy of Pen Mané)
The Pen Mané crest is built around a window taken directly from Guy-Raffin’s childhood bedroom at Villa Pen Mané (Photo: courtesy of Pen Mané)
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The instinct for storytelling runs through the whole space. The Pen Mané crest, rendered in the showroom’s signature grey-blue, is built around a window taken directly from Guy-Raffin’s childhood bedroom at Villa Pen Mané, the family home on the Brittany coast that lends the maison its name and its founding mythology. Translating something so specific to one house in Brittany into a commercial space thousands of miles away might seem like a stretch, but Guy-Raffin argues the memory is universal rather than personal to him alone. “That window has always represented an intimate, personal space—somewhere to dream. I’ve found people connect with that immediately, wherever they are in the world, because we’ve all looked out of a window at some point and imagined something bigger for ourselves. When our Hong Kong collectors walk through the showroom, I want them to feel invited into that same feeling—their own Villa Pen Mané, wherever home is for them. It becomes personal the moment they bring their own memories to it.”
Above Inside the new Pen Mané jewellery home in Hong Kong (Photo: courtesy of Pen Mané)
Inside the new Pen Mané jewellery home in Hong Kong (Photo: courtesy of Pen Mané)
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The opening arrives on the back of an unusually strong Couture Las Vegas debut, where the Fissure Necklace’s double win made Pen Mané a rare first-time exhibitor to take home two awards. The piece belongs to The Wild Coast collection, built around the idea of resilience drawn from Brittany’s rugged coastline—a theme the maison is positioning as resonant with Hong Kong’s own character as it establishes its first home market address outside France.
Inside, the residential styling is more than decorative. Warm wood panelling and low seating replace glass counters, and the maison’s two 2026 Couture Design Awards—Innovative Design and Editor’s Choice, both won for the Fissure Necklace from The Wild Coast collection—sit alongside books and personal objects rather than in a display case. Directly behind the retail floor is Pen Mané’s working creative studio, putting the maison’s design process on the other side of a wall from its clients. For Wang, this proximity between the retail space and workshop is less about spectacle than about what it does for collectors who want to feel connected to a piece and the making of it.
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Above The Fissure Necklace from the The Wild Coast collection (Photo: courtesy of Pen Mané)
The Fissure Necklace from the The Wild Coast collection (Photo: courtesy of Pen Mané)
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“Having the design studio directly on-site does make us wonderfully agile when clients want to make a piece their own—most often that means exploring new colour combinations, using natural colour gemstones within our existing designs,” he says. Commissions built entirely from scratch are a different undertaking, one he describes as “a bigger, more considered journey” that asks for real commitment from both sides. That same patience runs through the maison’s own design process: a full collection takes around two years from concept through production, with the team, as Wang puts it, “constantly working toward the horizon rather than reacting to it.”
Both founders describe Hong Kong as a starting point rather than a template to be copied wholesale elsewhere. “Hong Kong is where this story starts because it’s home—it’s the market that has known us longest and believed in us earliest,” says Wang. “As we grow and introduce Pen Mané to new cities, the physical format of our presentation may look different and adapt to each location. However, no matter how the presentation evolves, it will always retain that grounded feeling of being a jewellery home. Every space we open will feel like a warm invitation.”
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As the Regional Editor for Watches and Jewellery and Editorial Content Lead for Tatler GMT, Amrita Katara specialises in luxury watch and jewellery coverage across Asia, with expertise in editorial strategy, feature writing and interviews with industry leaders. Her past roles span luxury lifestyle media and client partnerships. Based in Mumbai, Amrita’s work bridges global trends and Asian market insights.
