At first glance, the dominant impression one gets of Peter Wong is one of Asian stateliness and serenity. However, when the conversation turns to design, fashion and the latest trends, that peaceful impression vanishes—replaced by an animated Italian-style gusto which arises from his passion for the subject.

            At VicenzaOro I, where his latest creations from the manufacturing house Forsel were on display, Wongrevealed himself to be very much a man of two cultures: a result of his Asian upbringing and his Western education and professional experience.

            “I appreciate the best of the Chinese culture,” says Wong, who left Hong Kong in his late teens to study in England.

            He believes that the ultimate expression of the Chinese artistic ethic can be found in Ming furniture and traditional Chinese paintings. These classic representatives of Chinese art consist of a few broad strokes and plenty of clean, open space on paper. While the uninitiated see the space as merely empty, the connoisseur relishes the dramatic balance between darkness and light. Says Wong, “The Oriental mind appreciates simplicity.”

            This simplicity can be seen in the jewelry the former architect is wearing—two plain, solid bands of green and black jade which, Wong say, he uses to soothe his temperament.

            The Oriental mindset can also be seen in Wong’s elegant gold designs of balanced, harmonizing forms and crafted contours which derive much of their beauty from the interplay between light and shadow. Often, the pieces are like miniature sculptures which create perfect harmony with the body of the woman who wears them.

            “I am very Oriental when it comes to what is beautiful,” says Wong. “It can be extremely simple, but with a twist it can be clever.”

            Wong’s Italian influences, on the other hand, are not as visible in his designs. While viewing his pieces, he is unable to name his Italian inspirations, instead crediting the general atmosphere of creativity in the country for the beauty of his work.

            “Italians are the best audience for design,” says Wong, who has lived in Italy for several years. “They are not afraid of what they like…and they have an instinct for what looks good together.”

            This atmosphere has made Italy a hotbed of design talent, where creative artists are always aware of the freshest designs and hone each other’s skill with constant discussions of the latest trends, fashions and philosophy. All in all, Wong says, it is an environment which leaves designers free to create to the limit of their imaginations.

            “In this climate I am able to create what I like,” says the designer. “Italians support new ideas, not every country does that. Others say it is beautiful, but they wouldn’t buy it. Italians, if they like it and can afford it, buy it. They are not afraid the public will be negative towards it.”

            As one of the world’s most eminent designers, Wong is outspoken in his views of fashion trends and the industry in general. One of his complaints is directed at manufacturers who recycle jewelry ideas from other designers. Wong says he constantly sees European designs from last year or last month being unveiled by Asian manufacturers, especially in Hong Kong and Thailand. This culture of copying, he feels, has precluded Asia from making any significant design contribution to the industry so far. One exception is unique ethnic jewelry from India and Nepal. In general, though, Wong regards the traditional chuk kam, or pure gold, jewelry of the continent as unappealing.

            For Asian designers who want to compete with the Italians, Wong is less than encouraging. He says that when it comes to tasted, people are born either with or without it.

            “Design is the sensitivity of a particular person,” he says. “It is almost impossible to teach this.”

            Wong, who has been designing jewelry since 1977, has strong opinions on the jewelry industry. In fact, some in the industry would need iron ears to hear this perfectionist voice his opinion.

            Jewelry suites? Wong feels these are for ignorant women who cannot think for themselves.

            Small post earrings? Wong says that women only wear these to fill in the holes in their earlobes, instead of enhancing a woman’s facial features as earrings were originally designed to do. Wong was one of the first designers to create earrings specifically for either the left or right ear rather than either.

            Tri-color jewelry? “Anything done in three colors books better in one color,” says Wong. He feels that there has only been only one piece of tri-color gold that has ever been beautiful—the original Cartier three-banded interlocking rings. When clients ask him to make jewels of tri-color, Wong simply refuses.

            Crosses? Despite their giant popularity a few years back, Wong refused to make them. “It’s a religious symbol, not fashion,” he says.

            The distinguished artist believes trends should influence proportions and designers must adapt to the lifestyles and clothing of the age. However, such sweeping generalizations as “Crosses are hot”, “Animals are in,” or “Enamel is all the rage,” limit the creativity and individualism of artists.

            Wong prefers that the chroniclers of fashion be more general in their description of trends by saying the trend is to more simple or more elaborate pieces, or that lengths this year are shorter of longer. This approach, says Wong, will allow designers to create pieces more to his or her own taste.

            It will also mean an end to superficial terms like “trendy” and “hot”—two things which jewelry are not, according to Wong. “Jewelry doesn’t die,” says the designer. “It passes from one generation to the next.”