The history of ivory carving can be traced back to ancient civilizations. Archaeological research shows that as early as between 3000 and 2000 BC, ivory was used for decorative and religious artifacts, with examples found in ancient Egypt, Mesopotamia, and the Indian subcontinent. In East Asia, the development of ivory carving can be clearly traced back to the Shang and Zhou dynasties in China (approximately 1600–256 BC), when ivory was primarily used for ritual objects and court artifacts. By the Tang Dynasty (618–907), with the maturation of the handicraft division of labor system, ivory carving gradually developed into a specialized craft.

After the Song Dynasty (960–1279), with the rise of literati aesthetics, the themes of ivory carving began to shift from ceremonial uses to natural subjects, figures, and symbolic compositions. By the Ming and Qing dynasties (1368–1912), ivory carving entered a highly mature stage, forming a systematic craft tradition. Distinct regional carving styles developed in places such as Beijing, Guangzhou, and Suzhou, becoming an important part of both court crafts and folk art.

Ivory carving primarily entered Hong Kong between the mid-19th century and the early 20th century. With Hong Kong's establishment as an important international trading port in 1841, a large number of artisans, merchants, and artworks from southern China entered Hong Kong, bringing with them the art of ivory carving. After its introduction to Hong Kong, ivory carving works not only continued traditional techniques and aesthetics but also gradually developed forms of expression that combined the spirit of Eastern craftsmanship with an international perspective, in response to Western markets and export demands.

By the mid-20th century (approximately the 1950s–1970s), Hong Kong had become one of the important centers for ivory carving production and distribution in Southern China. It not only attracted experienced artisans but also served as a crucial window for ivory carving art to reach the international stage. At that time, ivory carving works were widely exported to European and North American markets and held a significant place in international exhibitions and collections, marking the peak of Hong Kong's ivory carving development.

Ivory carving is regarded as one of the most technically demanding categories in traditional Eastern sculpture art. Due to the material's inherent dense and irreversible structure, artisans must complete multi-layered forms within a limited volume, requiring extremely rigorous control over proportion, space, and detail. Historically, ivory carving has achieved remarkable accomplishments in three-dimensional openwork carving, intricate relief carving, and composite compositions, particularly renowned for multi-layered openwork carving and delicate character portrayal. At the "Panama-Pacific International Exposition" held in San Francisco, USA, in 1915, China won first place in a multinational art competition with a 25-layer ivory ball carved by Weng Zhao from Guangzhou.

Its artistic value is not only reflected in its technical difficulty but also in its reflection of the understanding of natural order, religious beliefs, and aesthetic ideals in different periods.

• Material Selection: Judging suitable themes based on the density, color, and texture of the ivory
• Design: Determining proportion and structure by combining material characteristics and compositional requirements
• Rough Carving: Preliminarily removing excess parts and establishing the basic outline
• Shaping: Deepening the form and establishing the main structure
• Fine Carving and Polishing: Gradually processing details and transitions
• Buffing: Presenting the unique warm luster of ivory
• Inlay: Combining other materials to complete the final composition

Entering the 20th century, with the popularization of industrial production and material substitution, ivory carving, as a traditional craft, gradually faced challenges in its preservation and傳承.

To protect its artistic value and cultural significance, China listed "Ivory Carving Techniques" in the first batch of national intangible cultural heritage in 2006.

This designation was based on its clear historical context, complete technical system, and important position in art history, signifying that ivory carving, from a practical and decorative craft, was officially recognized as a cultural heritage requiring protection and research.

IvyC's craftsmanship roots originated from its predecessor, Kin Fai Carving Factory. "Kin Fai Carving Factory" was established in 1975 by Mr. Cheng Cheung-chai (1943–2013) in Hong Kong, with a processing plant later set up in Fuzhou. The factory was engaged in ivory carving production and international trade in Hong Kong, participating in a historical period where Hong Kong was a crucial hub for ivory carving art.

With the comprehensive global regulation of the ivory trade in the 21st century, traditional ivory carving craftsmanship faced a structural transformation. Since 2022, while respecting legal and cultural responsibilities, the brand has shifted its focus to the research and application of fossilized mammoth ivory, continuing its core spirit of material understanding and carving techniques.

Building on this foundation, IvyC translates the proportion control, detail handling, and manual rhythm derived from ivory carving into contemporary jewelry design. IvyC ensures that craftsmanship is not only preserved but also continuously understood and perpetuated within a new design context.