In late October, we found ourselves taking a tour of Tanjung Tualang Tin Dredge No. 5 in Perak. Better known as TT5, it stands as the last surviving tin dredge in Malaysia. It was a surreal experience to step onto a machine we had only read about in history books. The tin rush in Perak began in 1848 in Taiping, transforming the state into the wealthiest region in British Malaya. Its capital, Ipoh, earned the nickname ‘The City of Millionaires.’
TT5 was one of the key engines behind that tin boom, an industry that shaped both the economy and identity of the country. Accompanying us on this journey was Chen Tien Yue, Executive Director of Marketing at Royal Selangor, who carries his great-grandfather’s pewter legacy into a new era. As part of the fourth generation of the family business — alongside Managing Director Datuk Yong Yoon Li — Chen represents the continuation of one of Malaysia’s most recognised craft houses.
Later that evening, we met again during the brand’s unveiling of its Autumn/Winter 2025 collection. Seeing the pieces first-hand, we marvelled at both the craftsmanship and variety on display with superhero statuettes and pop-culture collectibles taking their place alongside refined collaborations and heritage-inspired works.
During a brief conversation following the reveal, Yong was posed a simple question: “What’s next?” His answer hinted at something much larger. The company was in the midst of developing a new gallery space inside the historic Sultan Abdul Samad Building. “It’s a brand-new space for us,” he said with a smile. “And it’s something we’re very excited about.”
A NEW SPACE FOR A 140-YEAR STORY
Fast forward to February, and we find ourselves walking into that very space. Occupying more than 8,000 square feet within one of Kuala Lumpur’s most iconic heritage buildings, the Royal Selangor Gallery in Bangunan Sultan Abdul Samad presents a sweeping narrative of pewter design from the 1800s to the present day.
More than a gallery, the venue combines a museum, pewtersmithing workshop, café, and curated retail space. Its aim is to situate Royal Selangor within the wider story of Kuala Lumpur — from its origins as a tin-mining settlement to its transformation into a modern capital.
Reflecting on the first time we heard about the project, it dawned on us that it had taken almost four months to put together this feature. But in truth, the story being told by the brand has been unfolding for more than 140 years.
Those familiar with the Royal Selangor story will know it began in 1885 when founder Yong Koon arrived in Kuala Lumpur from Guangdong, China. Joining his brothers, he produced traditional Chinese altar items and household objects such as incense burners, candle stands, teapots, and wine ewers.
The decision to open the new gallery in this historic precinct therefore carries symbolic weight. “This opportunity presented itself — it wasn’t planned,” Chen admits. “But it resonated with us because it’s close to our original site. Visibility and positioning were important but we think of it as part of a larger story of our work.”
Yong agrees. “In a typical retail store, which is maybe a thousand square feet, it’s difficult to communicate our full heritage. This Gallery as well as our Visitor Centre allows us to tell the cross-generational story: about design innovation, craftsmanship, and how the brand evolved alongside the city.”
DESIGNING THE GALLERY EXPERIENCE
Creating the gallery involved more than filling space with artifacts. It was a conscious effort to ensure visitors get a taste of the craft, which remains a core focus of the gallery at the Sultan Abdul Samad Building.
Yet, due to the historical nature of the building, the space posed its own constraints. “This private room that we’re in right now was originally half the size,” Yong reveals. “We have to credit the landlord, because they allowed us the flexibility to expand. But we had to work around reinforced concrete columns from renovations done in the 70s and 80s.”
Balancing conservation with practicality was a challenge, but the team embraced the opportunity to experiment with layout and display. “We appreciate pieces like the Muhammad Ali Gloves, crafted by us in the mid-70s when the boxing legend visited Kuala Lumpur,” Yong adds. The gloves, moulded in pewter, were a tribute to Ali’s bout against Australian challenger Joe Bugner in the city, billed as “The Fight of a Lifetime.”
CRAFT AND CULTURE
The gloves are just one example of the gallery’s interactive storytelling. “It’s a fun space,” says Chen. “Visitors don’t have to follow history linearly. Instead, they can explore small stories — collaborations with Japanese brands, Popmart collectibles, F1 trophies, and different design eras. It’s a playful way to engage people.”
Yong points out that curating such a large archive required creativity. “With 141 years of history and artifacts from all over the world — some made by us, some collected — we had to experiment with placement and see what felt right. That said, there’s still a vast number of products in our archives that haven’t been displayed yet.”
“This space presented itself — it wasn’t planned. But it resonated with us because it’s close to our original site”- Chen Tien Yue
The gallery also complements the Visitor Centre in Setapak, which remains the brand’s heart. “Bangunan Sultan Abdul Samad serves as an intimate introduction,” Chen explains. “At the Visitor Centre, our larger workshop allows visitors to witness the full craftsmanship that goes into each product. This, right here, it’s like an appetiser that leads into the main meal.”
DESIGNING INSPIRATION
While the gallery celebrates the past, Royal Selangor remains focused on the future. “Developing a new product is rarely straightforward. The idea is the easy part,” Yong says. “The difficult part is iteration.”
A typical product may go through three or four versions over 12–18 months, ensuring it speaks to the brand, is authentic, meets the price point, and can be manufactured. “Human judgment is critical,” Yong emphasises. “Technology or AI cannot fully replicate the intuition and subtlety required to know what will resonate with customers.”
Collections like Whispers of the Silk Road, inspired by Buddhist art at Dunhuang and the Mogao Caves, demonstrate how research and historical context guide design. “The formula is fixed around iconography. We studied the Apsaras — flying, dancing figures — and asked the team to reinterpret them in pewter. The result blends cultural storytelling with contemporary design.”
BETWEEN HERITAGE AND HORIZON
For legacy brands, balancing tradition and innovation is a constant challenge. Royal Selangor has managed to strike a balance between heritage-inspired objects and modern lifestyle products, including select licensed pop-culture items.
Yong adds, “Some products in our portfolio have been around 30–40 years. You can’t always predict which will succeed; sometimes they resonate emotionally. Consistent materials tie everything together, so even with a mix of styles, the brand identity remains intact.”
As part of maintaining its legacy, Royal Selangor is also cultivating the next generation of artisans and designers. Over the course of several years, the company has developed a structured training system. “People join us as school leavers or fresh graduates, and we train them to become future leaders,” Yong explains. “They learn specialised skills — soldering, for example — which take time to master because pewter melts at low temperatures.”
“Some products in our portfolio have been around 30–40 years. You can’t always predict which will succeed, sometimes they resonate emotionally”- Datuk Yong Yoon Li
Finding innovative designers remains a challenge. “It’s difficult to find designers who understand manufacturing constraints and can translate ideas into manufacturable products,” Yong adds. “The hardest part isn’t coming up with a concept — it’s realisation. Refining designs repeatedly until they work is something technology cannot do.”
To broaden their talent pool, Royal Selangor has sought collaboration beyond Malaysian shores. A recent initiative partnership with Nottingham Trent University in the UK shortlisted three outstanding students from 43 projects for the mentorship programme. “We look forward to welcoming them,” Yong enthuses. “Sometimes, you have to look beyond geographical boundaries to find the right talent.”
A STORY STILL BEING WRITTEN
For a craft house built on 141 years of pewter making, nurturing talent is as important as preserving legacy. Standing inside the new gallery, surrounded by artifacts spanning more than a century, it becomes clear that Royal Selangor’s story mirrors Kuala Lumpur’s evolution.
A city shaped by tin gave rise to a craft tradition that continues to evolve. More than 140 years after Yong Koon first began shaping metal into everyday objects, the company he founded is still thriving — now with a gallery, a global audience, and a new generation of designers carrying the craft forward.
Like the tin dredge quietly resting in Perak, the legacy of an industry continues to shape the future in unexpected and enduring ways. Chen and Yong are now carrying that heritage forward, writing the next chapters of this extraordinary storied journey.
Photography: Edmund Lee; Art Direction: Khairani Ramli
