Fashion in China Mapping (2012)

FASHION IN
CHINA
MAPPING
FASHION IN
CHINA
MAPPING
Table of Contents
Introduction
5
Short Background
6
Generations in Fashion Design
6
Creative Industries Policy and Intellectual Property Rights 7
Condensing China’s Fashion Industry into One Report 7
Historical Background
9
Introduction
9
Changing Clothes In China China Fashion: Conversations With Designers 9
10
Chinese Fashion Style
13
Introduction
13
Fashion and National Identity
13
China Style International
13
Chinese Style According to the Up-and-Coming
14
Chinese Style According to the Second Generation
15
Competing to become China’s Fashion Capital 19
Introduction
19
The Differences – Explained by Fashion Designers
20
Beijing Retail
20
Shanghai Retail
22
Fashion Weeks
23
Fashion Media
27
Introduction
27
Media History, Critique and Analysis
27
Young Designers and Media – Positioning and Promoting
28
Fashion Media Fatigue 29
Important Printed Media and Fashion Bloggers 29
Fashion Education
33
Educational Reform
33
The Experience of Foreign Education
33
Leading Fashion Schools
35
Fashion and Apparel: Market Landscape and Entries
39
Introduction
39
Large-Scale Apparel Enterprises
40
Market Entries for Foreign Brands
41
Fashion Organizations
43
Fashion Hubs – Textile City, Shanghai Fashion Hub and ‘Fashion Silicon Valley’
44
Independents and Production
47
Introduction
47
Independent Fashion Designers
47
Ecological Production
48
The Creative Challenge of Two Labels
51
Introduction
51
Fashion as Art as Critical Acclaim
51
Fashion as Art as Instant Fame
52
Trending Topics
57
Luxury
57
Men’s Wear
58
Foreign Fashion Exhibitions in China
58
Conclusion
61
Closing Thoughts
63
Appendix
67
Contact Details & Bios
67
Featured Chinese Designers and Scholars
Jenny JI 吉承, JIANG Qiong Er 蒋琼尔, LIANG Zi 梁子, LIU Yang 刘洋, Augustus MENG 孟祥千, QIU Hao 邱昊,
Frain WANG 王逢陈, Uma WANG 王汁, Vega WANG 王在实, WANG YiYang 王一扬, ZHANG Chi 张弛,
ZHANG Da 张达, and Xander ZHOU 周祥宇.
About Dutch Design Fashion Architecture
The Dutch Design Fashion Architecture (DutchDFA) programme aims to strengthen the international position of the
most prominent sectors of the Dutch creative industries – design, fashion and architecture – through a joined-up
approach. The four-year strategic programme (2009–2012) takes place in a selection of focus countries (India, China,
Germany and Turkey) and relates to topical issues and local demands. Its aim is to build long-lasting international
partnerships while addressing issues facing today’s world through design.
www.dutchdfa.com
About MovingCities
MovingCities is a Shanghai-based think-tank investigating the role of architecture and urbanism in shaping the
contemporary city. Established in 2007 by Bert de Muynck (BE) and Mónica Carriço (PT), MovingCities operates as
embedded architects – publishing, researching, collaborating and interacting. Specialized in bridging China and the
world, MovingCities offers urban consultancy in the fields of architecture, design and the creative industries, in the
public and cultural institutional sectors. It has conducted research, lectures and workshops in China, Israel, Sweden,
the Netherlands, Finland and Indonesia. MovingCities has set up programmes for, amongst others, the Netherlands
Architecture Institute (NAI), Dutch Design Fashion Architecture (DutchDFA) and the Finnish Association of Architects
(SAFA) in China.
www.movingcities.org
Introduction
Background to the DutchDFA Fashion Mapping Report
This report is the result of an investigation into the fashion
When it comes to topics such as the development of the
profession and industry in China. Commissioned in 2011
Creative Industries in the 12th Five-Year Plan (2011–2016)
by the Dutch Design Fashion Architecture (DutchDFA)
and Intellectual Property Rights (IPR), it is advised to read
programme, the reports’ ambition is to broaden the
the Design in China Mapping report.1
understanding of the dynamic changes within the Chinese
creative, academic, institutional and business fashion and
China has long been known as the world leader of
apparel community. In addition it documents, analyses
garment manufacturing and as a clothing production
and identifies potential collaborative and market entry
powerhouse. As the overall idea of the development of the
opportunities for Dutch fashion enterprises and
creative and cultural industries in China is to transition
organizations.
from a ‘made in China’-image to a ‘created in China’identity, there is a focus on modernizing the Chinese
The report seeks to document and interpret the state-of-
fashion industry and its international image. As the world’s
affairs of Chinese fashion through a series of
biggest market, China is a battlefield where global and
conversations with critical and respected Chinese fashion
local apparel and international luxury brands fight to
professionals in Beijing, Shanghai, Guangzhou and
establish their positions, and compete with (younger)
Shenzhen that, to the best of their abilities, and with
Chinese domestic brands. Today, Chinese fashion has the
various motives, are engaged with a fashion culture in
ambition to grow beyond the domestic economy and
transition. The material drawn from interviews presents a
culture: China, both as market, and as inspiration, is
collective of independent, avant-garde fashion designers
becoming a crucial player in the global fashion world.
and their modus operandi, as well contextualizes their
development within the Chinese fashion community, and
Chinese fashion companies have realized the importance
the dynamic changes it has undergone in recent years.
of brand culture, operation and communication in order to
Recent fashion and media developments have confirmed
accelerate their own growth and to boost quality in order
the crucial position of these designers within the emerging
to match international cachet. Large-scale Chinese
fashion scene in China.
apparel enterprises such as JNBY, Meters/bonwe,
Youngor, Bosideng and e-commerce newcomer VANCL
Their experience and expertise is broadened and/or
are beginning to challenge their foreign competitors at
contrasted with online research and print publications on
home. Analysts say the ‘fast fashion’ industry is among
topics such as Fashion History, Fashion Media,
the most promising categories in retail because Chinese
Universities and Design Colleges, Large-Scale Apparel
consumers are increasingly able to buy what they want,
Enterprises, Fashion Organizations and Hubs, Luxury
not simply what they need.2
Brands, Foreign Fashion Exhibitions in China and Market
Entries. As such the report looks beyond fashion
Noticeably, Chinese fashion designers are trying to find a
designers’ personal accounts and results in a broader
balance between modern and traditional lifestyles,
depiction of trends, opportunities and mechanisms
between ambitions to create ready-to-wear, luxury and
influencing the fashion field in China: the garment and
couture. These independent designers, oftentimes
textile industries, retailers, shopping malls, universities,
operating from small-scale studios, can work for the
consumers and creators.
mass-market or opt to explore individual tastes and styles.
Fashion is currently taken as fast flight forward in China.
There are several reasons for this: a growing economy, a
5
return from various international fashion schools of freshly
graduated young and Chinese designers with an
international outlook and experience, an expanding media
certain international designers’ recent collections.
An older generation is consolidating its status in the
contemporary fashion scene.
coverage, the importance of new media in terms of
• A new generation of fashion designers, most with
dissemination of the latest trends and styles and the
international educational backgrounds, is being
heightened interest of foreign fashion designers to operate
in and for the Chinese market.
intensely promoted by the media.
• Local fashion designers have ways to secure the quality
of their work by sourcing their own fabrics (ecological
Short Background
Once a country producing fashion and apparel for others
– ‘the factory of the world’ – China has become a fashionconsuming nation, and one of the world’s most promising
markets. This report starts with selective highlights of the
main fashion developments in China during the past
production).
• Much of the older generation is developing two labels:
one artistic, the other more marketable.
• The younger generation is focussing on single-brand
development.
• Independent designers are showing a growing interest
in eco-design and a sustainable approach to fabrics.
century, and links them to the social, cultural and
• Educational reform is occurring in the field of fashion.
economic transformations of the country. Fashion has
• Shanghai and Beijing are competing for the position of
been growing as a significant symbol of China’s political
China’s contemporary fashion capital.
culture in the 20th century; recently, it has artistically let
loose and is developing in diverse stylistic directions. In
recent years, new types of shops have begun to focus on
Generations in Fashion Design
Chinese fashion: shops that offer the work of a broad
In China Fashion: Conversations with Designers, author
range of designers, pop-up shops and small markets for
Christine Tsui, provides a short introduction to three
vintage are becoming popular in cities like Beijing and
generations of Chinese fashion designers, supported by
Shanghai.
short interviews with acclaimed figures.4 She identifies
these generations as: 1) those born in the 1950s and early
Beijing and Shanghai, as the primary bases for designers
1960s, when fashion in China was isolated from that the
in China, have significant national and international
rest of the world; 2) those born in the 1970s, who are now
influence. To understand the future development of
positioning China within the global fashion industry; and 3)
Chinese fashion it is crucial to understand the collections,
designers born in the 1980s, who are becoming an
exhibitions and shows happening in these areas.
emerging force in Chinese fashion.
This report places lesser emphasis on the Pearl River
Delta, despite its position as epicentre of textile
Tsui goes on to reposition these categories within the
manufacturing, for two reasons: the PRD has a smaller
decades when designers became successful:
population of independent fashion designers, and the
• The 1980s – ‘Pioneers’ (The First Generation):
large apparel enterprises and retailers are concentrated in
Beijing and Shanghai.
Wang Xin-Yuan, Wu Haiyan, Frankie Xie, and Liu Yang
• The 1990s – ‘Practitioners’ (The Second Generation):
Liang Zi5, Ma Ke, and Wang Yiyang
China’s approach to education of young designers is
changing, according to Yuan-Feng Liu, president of
• •21st Century – ‘Prospects’ (The Third Generation):
Lu Kun and Ji Ji
Beijing Institute of Fashion Technology: ‘Chinese fashion
institutions should create curriculums that transition China
Fashion designers interviewed for this report agree with
from “king of apparel production” to “king of designer
this generational structure, although it should be noted
3
apparel”.’
that Christine Tsui’s representation of the younger
generation is not supported by recent media reports and
Interviews with Chinese designers have given insight into
fashion shows. Incorporating prominent fashion designers
their current preoccupations. The following issues were
such as Zhang Da, Uma Wang, Qiu Hao and Jenny Ji into
dominant in these discussions:
this second generation makes it possible to get a broader
• In fashion, the notion of ‘Chinese style’ is being
picture of this generation. Today, they have risen to
reconsidered.
• There is a growing interest in ‘Chinese aesthetics’,
expressed by the incorporation of sino-elements in
6
prominence as 21st century designers and have
successfully developed their own labels.
Today a new cohort of young fashion designers, many
more adventurous generation, exploring a variety of styles
Condensing China’s Fashion Industry into
One Report
and attitudes. These include Vega Wang, Xander Zhou,
The report is set up to provide, in 11 chapters, a general
Zhang Chi, and recent graduates such as Augustus Meng
introduction to the development of fashion in China.
and Frain Wang.
Chapter 2 provides an overview of the changes in clothing
with international educations, have been embraced by the
media and identified as the frontrunners of a new, even
styles in China during the 20th century, highlighting the
Creative Industries Policy and Intellectual
Property Rights
relation between political and fashion regimes. Chapters 3
and 4 introduce the notion of a search for a distinct and
contemporary Chinese fashion style and the competition
China’s creative and cultural industries are comprised of
between Beijing and Shanghai, as reflected in the work of
different fields such as architecture; interior design; film
different generations of designers and presented in
and video; music; graphic-, product- and communication
fashion weeks. Chapter 5 discusses the rise of fashion
design; and fashion. The creative industries in China have
media, Chapter 6 gives an overview of educational reform,
the ambition to shift their reputation from ‘made in China’
discusses the experience of foreign education and lists
to ‘created in China’. It is estimated that in past five years,
China’s leading fashion schools. Chapters 7 and 8
China’s cultural industries have grown at an average annual
introduce both the large-scale apparel enterprises and
rate of more than 17%, surpassing that of the national
fashion organizations. They go on to document the
economy by over 7%. The cultural industries have emerged
different market entries for foreign brands in China, and to
as an engine that is poised to drive a substantial part of
outline independent designers’ views on their roles in
China’s economy in the coming years. In 2009, for the first
society and their explorations into ecological production.
time, the State Council issued a document designed to
Chapter 9 examines the challenges independent
promote the cultural industries. Known as the ‘Plan to
designers face in bringing their products both to mass-
Adjust and Reinvigorate the Cultural Industry’, this document
markets and individual buyers, discussing the relation
confirms the strategic position of the cultural industries at
between confection and couture. Finally, Chapter 10
the national level. The ‘12th Five-Year Plan of the Communist
discusses a few trending topics such as luxury, men’s
Party of China’ (CPC), setting the targets for 2011-2015,
wear and foreign fashion exhibitions in China. Chapter 11
states that the cultural industries will be developed into a
wraps up this investigation.
pillar industry in the next five years.6 Today, the cultural
industries represent less than 2.5% of China’s GDP; this
number is expected to grow to at least 5% by 2015. For
more insight into these developments, it is advisable to
read the chapter on Creative Industry Policy in the ‘Design
in China Mapping’.
www.dutchdfa.com/china/design-in-china-mapping
Notes
In addition, relevant information on Intellectual Property
Rights in the creative field in China can be found in the
‘Design in China Mapping - Intellectual Property Rights’
1
Design in China Mapping can be found at:
www.dutchdfa.com/china/design-in-china-mapping
2
‘Made in China strives for a fashionable cachet’ | www.theglobeandmail.com/report-on-business/international-news/global-exchange/
made-in-china-strives-for-a-fashionable-cachet/article2049470
3
‘Schools important part of fashion trends’ | June 2011 |
www.chinadaily.com.cn/usa/business/2011-06/17/
content_12724549.htm
4
Tsui, Christine, ‘China Fashion – Conversations with designers’,
BERG, New York, 2009
5
This colour symbol refers to a short biography and contact details
provided at the end of this document.
6
‘China’s 12th Five-Year Plan - How it actually works and what’s in
store for the next five years’ | December 2010 | www.apcoworldwide.
com/content/pdfs/chinas_12th_five-year_plan.pdf
(Chapter 8). Other resources are the China IPR SME
Helpdesk that supports European Union small- and
medium-sized enterprises to both protect and enforce
their rights in or relating to China, the China Copyright
Agency (CCA) and Copyright Protection Center of China
(CPCC). In the past few years, the Netherlands has set up
infrastructures in cities such as Shanghai and Guangzhou
that act as design business agents for Dutch designers
wanting to enter, or gain knowledge about, the Chinese
7,8
market – its key players, institutes, events and designers.
Both the Dutch Design Workspace and the Dutch Design
Desk are instruments that can help to identify Chinese
collaborators, project partners and/or business opportunities.
7
Dutch Design Workspace | www.dutchdesignworkspace.com
8
Dutch Design Desk | www.dutchdesigndesk.com
7
Jenny JI 吉承
Historical Background
A Century of Fashion Regimes
Introduction
Changing Clothes in China
The development of Chinese fashion, both in style and
China’s 20th century is characterized by a constant launch
production, has been in transformation for more than a
of ideas, campaigns and movements that have the
century. China’s 20th century has been characterized
objective to liberate the country, its people and its culture
by ruptures, creative explosions and the mass-
– from the imperial era, from foreign cultures, from
implementation of ideological vestimentary codes.
capitalist influences, from gender inequalities, from foreign
The struggles to balance traditional and modern, Chinese
military influence, and so on. In these undertakings China
and international, copied and unique approaches are
has redefined itself during almost every decade of the
similar to the discontinuous development in other creative
past century. In her study, Antonia Finnane, Professor in
fields such as design and architecture.
the School of Historical Studies at the University of
Melbourne, Australia, discusses these issues, and their
Today’s advancements in taste, consumption patterns and
relevance for the development of Chinese fashion.
media coverage are emblematic of the shift in direction
Chapters with titles like ‘Soldiers and Citizens’,
that Chinese fashion will take in the coming years. Both
‘Her Brother’s Clothes’, ‘Dressed to Kill in the Cultural
the confidence of an older generation and the ambition of
Revolution’ and ‘Breaking with the Past’ signal the themes
a younger group of Chinese fashion designers signal the
dominating the emergence of China’s fashion sense.
advent of a fashion ideology that will be distinctly different
These include the legacy of historical clothing styles, the
from that of the past century. In her 2008 book Changing
struggle to modernize the fashion industry, the issue of
Clothes in China, Antonia Finnane describes this past
gender, the importance of military imagery, etc. and,
evolution: ‘The volatility of fashions in the 20th century
during the past decade, the rise of the independent
matched vicissitudes in national politics, to a point where
Chinese fashion designer as a new protagonist on
a series of political regimes through the century was
national and international runways.
1
matched by a parallel series of vestimentary regimes.’
By examining one of China’s most emblematic fashion
The Chinese apparel industry has progressed from being
pieces, the qipao – a one-piece Chinese dress that has
largely volume-driven in the 1960s and 1970s, to being
been worn since the Manchu ruled China in the 17th
export-driven in the 1980s and early 1990s, to being more
century, Finnane calls attention to regional, modern and
consumer-oriented today. Emblematic of the growing
traditional differences: ‘. . . Beijing and Shanghai styles of
interest in contemporary Chinese fashion is the rise of
qipao are distinguished from each other, along the
publications, both in print and online, on fashion’s history
well-established lines of division between “capital” and
and present state. In that regard, Finnane’s book is a
“coastal” cliques (jingpai, haipai) pertaining in the literary
must-read, as it traces the origins of the present state of
world. In Beijing, according to this analysis, the qipao was
affairs. Christine Tsui’s China Fashion: Conversations with
loose and angular, the garment framing the body; in
Designers is another recommended resource, although it
Shanghai, the reverse was the case’.3
is more limited in scope.2 In a series of interviews with
leading contemporary Chinese fashion designers, Tsui
After the establishment of the People’s Republic of China
sketches a brief history of Chinese fashion after the
in 1949 great tides of cultural, political and social liberation
reform period of the late 1970s.
movements swept over China. In fashion, this era was
dominated by military and Mao-inspired costumes, as
9
but also visually. Poet Ai Qing (1910-1996), the father of
China Fashion: Conversations with
Designers
artist Ai Weiwei, observed this trend: ‘Look along a street,
Christine Tsui’s book China Fashion: Conversations with
and all you can see is a great sheet of blue and black.’4
Designers, picks up where Finnane leaves off. With a
Later, China’s people dressed in variations of the
focus on the past 20 years, the book provides a
androgynous green, gray or blue Mao suit and the olive-
framework for contemporary fashion trends and
green People’s Liberation Army uniform. The outcome
evolutions. In her introduction Tsui confirms that Chinese
could have been quite different as the start of 1950s
fashion designs ‘clearly feature Chinese characteristics,
actually saw a short-lived period of a renewed cultural and
which, in theory, will differentiate them from those born in
social fashion freedom amongst Chinese artists, writers,
the Western world’. She argues that 1) the improvement in
poets and painters: ‘An obvious question to be asked
the economic system motivated individuals to ambitiously
about this phenomenon is, what did people in China
develop private businesses; 2) today’s top private garment
actually want to wear. An opportunity for them to
enterprises in China were formed during the 1980s; 3)
demonstrate their preferences arose in the mid-1950s,
independent designers have recently had the opportunity
when the Ministry of Culture authorized a campaign to
to build their own labels and business units; and 4) a new
reform the reigning drab fashions. Launched early in
generation of high-income middle class and millionaires
1955, the campaign culminated in nationwide fashion
are the major consumers of fashion and luxury
shows the following year, before the Hundred Flowers
accessories.
these celebrated the communistic victory and imposed an
ideological homogenization of society, not only politically
Movement took over and key figures in the campaign had
to turn their attention to other matters.’5
1995 was an important year for Chinese avant-garde
fashion; it marked the start of a new programme to rank
After decades of stylistic standstill, the end of the late
the top 10 Chinese fashion designers of the year: ‘The
1970s and early 1980s saw a large-scale absorption of
first time, selection was made through assessment of
foreign fashion influences: ‘People in reform-era China
clothes, aspects of style, colours, use of fabric and
wanted to be citizens of the world. Charged with clothing
accessories and workmanship, together with certified
the population not only of China but of many other parts of
sales turnover of the past year and achievements of the
the world as well, designers’ skills were absorbed mostly
nominees. . . .’7 The first top 10 list included the big names
6
in producing international styles for the mass market.’
in Chinese fashion of the time. Despite this stimulus, many
of the first generation of avant-garde fashion designers
Currently a reverse trend is happening, as some
encountered difficulties, according to Tsui: ‘…because
international fashion designers blatantly draw inspiration
they had to do all the work themselves due to the general
from traditional Chinese clothing and cultural elements in
backwardness of the industry at the time. A common issue
order to appeal to a growing Chinese consumer market.
was the difficulty in finding high-quality fabrics and
While foreign designers adorn garments with pandas,
exquisite accessories. Most factories produced products
flowers, dragons, lanterns and bamboo to appeal to
for mass-market use. The other common challenge was
wealthy Chinese consumers, domestic designers prefer to
finding qualified sales agencies and trying to get into the
talk about foreign cutting patterns, modes of production
department stores. The designers often found themselves
and promotional strategies in order to position their work
involved in everything but design.’8
within a global fashion movement.
An exemplary success story from this first generation of
Chinese fashion designers’ pursuit for a distinct approach
Chinese fashion designers is the case of Guo Pei (1967)
could be called modern Chinese; they look at new modes
who worked for several fashion companies before
of production and new uses for fabrics, focussing on both
becoming chief designer for the newly established
artistic and commercial collections. With the world turning
Tianma (Heavenly Horse) Clothing Company, Beijing, in
its eyes to China as inspiration and opportunity, Chinese
1989. Tianma quickly became one of China’s most
fashion is poised to change its attitude and direction in the
popular women’s labels. During Guo’s six-year
coming decade.
employment, 250 of her garments were produced, totalling
some 400,000 items. In 1995 she moved to the Milano
Fashion Company Limited, a Taiwanese-American joint
venture, where she continued to design her own
independent collections. In 1996 she established her own
10
company Meiguifang (Mayflower), and in 1997 after
Tsui’s analysis that the younger generations are producing
being named one of China’s top 10 designers, opened
a more homogenous body of work is hardly supported by
Rose Studio.9 Today, reinterpreting both Eastern and
the research and interviews carried out for this report.
Western motifs and employing 300 hand embroiderers,
Reason is that since the publication of her book in 2009,
Guo Pei is best known to the public as the dresser of
an even younger generation of fashion designers
choice for China’s star-studded CCTV Spring Festival
emerged. This younger generation (born after 1980)
Gala – which exposes her work to some 700 million
aspires to be different and is internationally oriented
viewers – and as the designer behind the ceremonial
They are discovering multiple approaches, seek a balance
dresses used in the 2008 Beijing Olympics. The New York
between professional and educational activities, and have
Times describes a recent collection: ‘four years ago
a strong relationship with a growing domestic media
(2006), she began making collections that were on a scale
market, but still face manufacturing concerns.
that equaled, and in some cases surpassed, the technical
feats of Paris couture — skirts of fantastic dimensions,
moulded into bell shapes, or cones that rippled like the
surface of a shell. Some dresses are inspired by children’s
clothes, and on adults the proportions look extreme, an
effect she heightens with ridiculously high platform
sandals. . . .’10
Absent in Christine Tsui’s book is the experience of
another first generation independent fashion brand –
Decoster.11 The Decoster label was officially launched in
2000 with its first full women’s wear collection; its first
boutique opened in the same year in Shanghai, the city
that inspires Decoster’s designs. The brand was born out
of the conflict between the East and the West, and headed
by designers Chen Xiang and Hu Rong. Its style drew
from a design approach that was started by Ma Ke
(Fashion Designer / Design Director, ‘EXCEPTION de
MIXMIND’ / ‘Wuyong’, Guangzhou) and is unique to
China. After almost 12 years in the industry, Decoster
launched an even higher-end, more conceptual label
called Decoster Concept.
Today, the different generations of designers have few
chances to learn from one other, as each has been
operating in a different cultural, social and international
context. The media attention and international exposure
that young designers presently enjoy contrasts with the
Notes
1
Finnane, Antonia, ‘Changing Clothes in China’, Columbia University
Press, New York, 2008
2
Tsui, Christine, ‘China Fashion – Conversations with designers’,
BERG, New York, 2009
more limited opportunities their predecessors had. As
such, each generation is forging its own way in redefining
and engaging with and within the fashion industry.
Christine Tsui writes about the effects of globalization on
young designers: ‘These young people . . . are no longer
fascinated by their country’s history and national cultural
relics. As globalization increases, there will probably be
more similar-looking clothes in the shops and less iconic
pieces.’12
3,4,5,6
Finnane, Antonia, ‘Changing Clothes in China’, Columbia University
Press, New York, 2008
7,8 Tsui, Christine, ‘China Fashion – Conversations with designers’,
BERG, New York, 2009
9
Rose Studio | http://www.rosestudio.com.cn/
10
‘Year of the Couturière’ New York Times, T Magazine, Women’s
Fashion | December 2010 http://tmagazine.blogs.nytimes.
com/2010/12/01/year-of-the-couturiere
11
Decoster | www.decoster.com.cn
12
Tsui, Christine, ‘China Fashion – Conversations with designers’,
BERG, New York, 2009
11
LIANG Zi 梁子
Chinese Fashion Style
A Debate on China’s Culture Through Clothing
Introduction
‘While we see pieces influenced by everything from blue
One of the main dilemmas of the Chinese fashion world
porcelain to the traditional qipao (cheongsam) from
concerns the interpretation of what it means to be a
domestic Chinese designers (and everything from take-
Chinese fashion designer. Should the Chinese identity be
away boxes to “chinoiserie-lite” from non-Chinese
explicit or implicit? Is it about style or approach?
designers), the country still lacks, for better or worse,
Do Chinese designers need to incorporate explicitly
a “representative” national piece, akin to the Japanese
“Chinese” elements in order to be recognizably Chinese?
kimono or Korean hanbok.’2 The writer goes on to
Or are implicit elements, such as the interaction with the
describe how the absence of aesthetic education about
changing tastes of a society in transition, more crucial to
China’s traditional culture, coupled with the dominant
the definition of a new fashion culture? The image of
Western culture that permeates the country’s fashion
Chinese fashion is largely shaped by foreign designers
industry, has created a void in China’s sense of fashion
that appropriate Chinese elements into their collections for
identity.
primarily commercial purposes. But one can’t deny the
influences this has on the way Chinese designers think
about their own aesthetic approach.
China Style International
The international interest in Chinese aesthetics can be
How does contemporary Chinese fashion express a sense
seen in the recent collections of international fashion
of culture, without resulting in costumes? This problem
designers such as Ralph Lauren. During New York’s
could form a topic for international discussions about how
2010 Fashion Week, Ralph Lauren debuted a China-
the immense history of Chinese fashion can be re-
influenced Fall/Winter 2011 collection. Chinese
interpreted and challenged in the coming years.
newspaper Jing Daily reported on the event: ‘The show
contained cheongsam-inspired dresses, mandarin collars
Fashion and National Identity
and Chinese embroidery featuring dragons, and was
In the publication Fashion and National Identity:
and a sound-track featuring a cover version of David
Interactions between Italians and Chinese in the Global
Bowie’s ‘China Girl’. Tapping all that China has to offer,
Fashion Industry, Simona Segre Reinach describes the
Ralph Lauren also drafted several Chinese models for his
problems related to the perception of Chinese fashion.
runway show, including opener Sui He, as well as
The ‘fragmented reality of Chinese fashion (the
Liu Wen, Jing Ma, and Ming Xi.’3 The Ralph Lauren
differences between the Chineseness of mainland
collection and inspiration should be understood as a part
Chinese and those of the diaspora, the lack of
of the company’s marketing strategy to enter the Chinese
collaboration between artists/designers/creators and the
market, in first-tier cities such as Beijing and Shanghai as
clothing and textile industry, and the interference of the
well as the over 100 second- and third-tier cities, which
state) makes it difficult to perceive what Chinese fashion
offer a potentially a large market, mainly for foreign luxury
really is.’
1
blatant in its inspiration, with models wearing jade earrings
brands. Exemplary is that Ralph Lauren announced, in
April 2011, plans to open 15 new stores annually in China
It can be argued that today China’s fashion identity reigns
over the next several years as part of an extended rollout.
in a vacuum, as expressed in the article ‘No Clear
The article goes on to explain that other fashion houses’
Consensus Among Chinese Designers On “China Style”’:
collections, such as Louis Vuitton’s Spring Summer 2011
13
and Chanel’s Paris-Shanghai Pre-Fall 2010 collection,
worldwide, claims that ‘Shanghai Tang is a Chinese label
follow a similar strategy. In the case of Chanel, Karl
that set out to rejuvenate Chinese fashion.’8
Lagerfeld created a range inspired by an imaginary
The fundamental design concept is inspired by traditional
voyage to Shanghai by Coco Chanel, who never visited
Han Chinese clothing combined with the modernity and
China but had a passion for Asian antiques.
dynamism of the 21st century. The brand is known for its
use of very bright colours.
Simon Lock, IMG Asia Pacific’s Managing Director,
designers: ‘You can’t deny the fact that China is becoming
Chinese Style According to the
Up-and-Coming
more and more important as a market for luxury brands.
In the interviews conducted for this report, questions were
And one way to get a connection back to Chinese
raised about this rise of Chinese style and inspiration.
consumers is adding Chinese elements to your
In 2010, the young fashion designer Vega Wang (Fashion
confirms the perception of China as a growing luxury
consumer house and the impact this has on fashion
4
marketing.’ Industry insiders such as designer and retailer
Designer, Vega Zaishi WAN, Beijing) launched her first
Elio Fiorucci and Gianluca Brozetti – Chief Executive of
boutique, a combination workshop/storefront located in
Roberto Cavalli – support this image by emphasizing the
Beijing’s Jianwai Soho; she has seen no shortage of
connection between brands and consumers, the
attention from local Beijing media and fashion elites.
emergence of Chinese creativity, and the Western
Her Spring/Summer 2012 collection, ‘at once more
appreciation of the culture and creativity of Chinese
angular, tailored and still playful than other recent
design. Others, like Nicole Chen, founder of NC Style,
collections’, explores a limited colour range of navy blue,
a consultancy that helps brands launch in China, say there
black, cream and rich red. When asked what Chinese
are more understated ways to connect products to
fashion stands for, she answers: ‘I really do not
Chinese culture, as seen in Diane Von Furstenberg’s
understand why so many people ask me about the
‘Journey of a Dress’ exhibition at the Pace Gallery in
Chinese elements in my design. . . . I think all my designs
Beijing (May, 2011) and Dior, who says: ‘Try to bring the
are already Chinese, because I was born and grew up
Chinese culture into your brand, but not through obvious
here. I found it so strange when several years ago
ways such as Chinese design.’6
Western fashion designers came to China and found what
5
they thought were ‘Chinese’ elements. Several years later,
But not only international designers seek business by
we — Chinese people – express our understanding of
jumping on the chinoiserie bandwagon; some Chinese
Chinese elements through their work.’ Zhang Chi (Fashion
designers have also plugged in to the commercial
Designer, CHI ZHANG (‘ARRTCO by CHI ZHANG’),
potential of collections that explicitly refer to Chinese
Beijing) shows the other side of the coin, mentioning the
aesthetics. Emblematic is the reaction of Ji Wenbo, chief
interaction between international and domestic
designer of Lilanz, after showing his collection at Milan
educational influences: ‘You know that most young
Fashion Week in 2006: ‘We’ve gotten very positive
designers studied and/or worked in western countries.
feedback in Milan. . . . It is not easy to find designs
So it is obvious that Western taste is dominant.’
featuring Chinese elements in Italy. So when my ideas
about Chinese fashion were shown on the stage, the
Frain Wang’s (Fashion Designer, Beijing) latest collection
audiences were stunned by this Chinese inspiration.’7
was inspired by the history of Beijing’s Yuan Mingyuan
gardens, known as the Old Summer Palace – a grand
Shenzhen-based, first-generation fashion designer
constellation of palaces destroyed by British and French
Liu Yang (Design Director, Guangdong LIU YANG Art &
troops during the Second Opium War in 1860. In the
Production Co. Ltd, Guangzhou) understands this quest
present day, the palace annihilation is still regarded as a
for Chinese style as something natural. It was the
symbol of foreign aggression and humiliation in China.
confrontation with foreign designers at a young age that
In her collection, Wang ‘wants to describe the history of
stimulated his exploration of his own culture: ‘When I was
Yuan Mingyuan, by presenting a moving story to the public.’
quite young, I saw YSL and Pierre Cardin’s designs and
When asked to react upon the international interest in
was astonished. They made me think more about Chinese
Chinese design elements, Frain Wang says: ‘I’m not
culture.’ Shanghai Tang, founded in Hong Kong in 1994,
interested in any design that just focusses on the surface
was one of the earliest fashion brands to merge East and
of Chinese elements.’
West elements in its designs. Founder David Tang Wing
Cheung, who also owns private clubs and restaurants
14
WANG YiYang 王一扬
superficial Chinese references: ‘These dragons,
Chinese Style According to the
Second Generation
flowers,… are all from the old times. For the young
Uma Wang (Fashion Designer, UMA WANG, Shanghai)
generation, it is all about personality. It is not like we have
is one of the most promising and acclaimed voices in
a country backing us up. To me, Chinese details and
Chinese independent fashion design. She presented the
culture are the same as other countries. When I was in
opening collection at Shanghai Fashion Week 2009,
school in the Netherlands, my teacher always wanted to
received the Finest Craft and Best Creativity awards at
see if I could incorporate dragon elements. But I refused.
Shanghai Fashion Week in 2009 and 2010, the 2010
I don’t want to use these as a simple means to attract
Beijing CCDC Best Designer award, and the 2011 Audi
people’s attention.’
Progressive Designer Award. Her work is known for its
In many interviews Xander Zhou (Chief Fashion Designer,
XANDER ZHOU, Beijing) echoed this disdain for
‘asymmetrically cut heavy wool coats, dresses with a
15
draped signature back, all-over print ensembles . . . as
The contemporary style of Shanghai designers like Lilian
well as thickly woven sweaters paired with slim patterned
Zhang/Shanghai Qilian Fashion and Jenny Ji (Founder /
pants.’9 To Uma Wang (Fashion Designer, UMA WANG,
Fashion Designer, LA VIE Design Studio, Shanghai) is
Shanghai), Chinese style is still a vague concept; rather
known as Hai Pai Wen Hua, which is translated as
than talking about trends or identity, she prefers to talk
Mandarin style with an overseas touch. Jenny Ji has
about brand development, creativity and quality of service:
worked as a designer and visual director for Basic Krizia,
‘Most foreign fashion designers and media want to see a
Missoni Sports and D’A before branching out with her own
brand and not the production behind it. We would like to
label La Vie. Her modus operandi is not only visible in her
show a real Chinese brand that shows creativity and
collections, but also in her styling, photography and
quality. I do not want to use something superficial, but to
communications, where she navigates between Chinese
discover something inside of these 5,000 years of history.
culture, inspiration, tradition and modern lifestyle. From
Maybe something you can’t see, but you can feel.’ It is an
peacock feathers, to the Double-Happiness sign, Peking
element of production, of knowing how to create and
Opera masks and the traditional blue tiger design, her
realize, that distinguishes Chinese fashion from the rest of
exclusive line of mother and baby wear incorporates
the world. ‘If someone asks me where I make my clothes,
Chinese symbolism in a mysteriously modern and
I say in China,’ she explains, ‘and I am proud of that.’
metropolitan way, infusing European-style cuts and
textures with Chinese atmosphere.
Wang Yiyang (Fashion Designer, ‘ZUCZUG’ / ‘Cha Gang’,
Shanghai) is one of China’s most prolific designers and
founded ZUCZUG in Shanghai in 2002. The label prides
itself on modern, comfortable women’s wear with bold
colours and silhouettes. He talks about the superficial
understanding of what it means to be a Chinese designer,
and describes the modern development of fashion in
China as a broken tradition: ‘The Chinese modern style
has not appeared yet, because the Chinese people do not
understand their own tradition. They only know it
superficially. Chinese style is not about using particular
materials or graphics; it’s a way to think, to express an
attitude. European fashion takes a step every 10 years or
so, but in China we have a broken modern tradition, so it’s
difficult to find our way.’
Notes
1
‘Fashion and National Identity: Interactions between Italians &
Chinese in the Global Fashion Industry’ | www.h-net.org/~business/
bhcweb/publications/BEHonline/2009/reinach.pdf
2
‘No Clear Consensus Among Chinese Designers On “China Style”’ |
www.jingdaily.com/no-clear-consensus-among-chinese-designerson-china-style/8297
3
‘Ralph Lauren Latest To Debut “Neo-Chinoiserie” Collection’ |
www.jingdaily.com/ralph-lauren-debuts-neo-chinoiserie-collectionfollows-chanel-louis-vuitton/7631
4
‘Ming Xi Dynasty’ | www.cnngo.com/shanghai/life/ming-xi-dynastyrise-chinas-next-top-model-089408
5
Chinese Creativity: Who Are The Emerging Designers? |
www.jingdaily.com/chinese-creativity-who-are-the-emerging-designers/8099
6
‘How to Seize the China Opportunity, Beyond Store Openings’ |
www.chinafashiontrends.com/2011/08/05/global-briefing-how-toseize-the-china-opportunity-beyond-store-openings
7
‘Ji Wenbo-First Chinese Designer to Shine Milan Fashion Week’ |
english.cri.cn/4026/2007/10/12/[email protected]
8
Shanghai Tang | en.wikipedia.org/wiki/Shanghai_Tang
9
‘Uma Wang Wins Audi Progressive Designer 2011 Award’ |
www.jingdaily.com/uma-wang-wins-audi-progressive-designer-2011award/9803
Zhang Da (Fashion Designer, PARALEL [‘BOUNDLESS’]
/ [‘SHANG XIA’], Shanghai) is developing a new fashion
language for ShangXia, the Shanghai-based branch of
the Hermès luxury brand. Although ShangXia is
developing a clear language that re-interprets the Chinese
philosophy and creative process, Zhang Da is concerned
about the use of stereotypical Chinese elements in his
production: ‘People dislike them because the previous
generation of designers have set a precedent by using
them.’ Although many designers are in the process of
developing their own styles, their work is not necessarily
innovative, says Zhang Da: ‘Most of the new star
designers have their own qualities, but their work does not
reach a philosophical level or create a new design
language.’
16
LIU Yang 刘洋
Uma WANG 王汁
Competing to Become
China’s Fashion Capital
Beijing, Shangai and the Pearl River Delta
Introduction
policies by which to upgrade from manufacturing base to
Culturally driven Beijing and commercially driven
fashion exhibition and trading centre in the coming five to
Shanghai are rivals for the position of China’s fashion
10 years.2
capital. The competition is not defined in stylistic or
historical terms, but through people and events –
Zhang Xu Chao, one of China’s most famous fashion
designers, consumers, media and fashion weeks, as well
models, highlights the difference between Beijing and
as the rise of boutiques, luxury stores, high-end fashion
Shanghai: ‘I like the fashion industry in Beijing for its
malls and exclusive fashion events. Beijing dominates the
strong influence, artistic environment and creativity. As for
North of China and Shanghai the middle-coastal region. In
Shanghai, I like its carefree, flexible and international
the South of China, in the Pearl River Delta region, cities
environment.’3 To Jenny Ji (Founder / Fashion Designer,
such as Shenzhen and Guangzhou have still limited
LA VIE Design Studio, Shanghai), the fashion scene in
presence of independent fashion designers, despite the
Shanghai is still the most important one in China, with the
area being a main hub for textile and apparel
city exercising its influences on the regional level:
manufacturing.
‘Shanghai was a fashion centre at the beginning of 1920s,
and it’s still a very fashionable city. People are open; it
While international and domestic fashion brands are
doesn’t matter if the ideas come from the West or East, or
intensely promoted in Beijing and Shanghai, the PRD
from other Asian cities. And Shanghai has a growing
faces two challenges: its proximity to Hong Kong, where
influence on nearby provinces.’4 Nels Frye (Creative
the upper class prefers to shop, and the fuzzy cognition of
Director, Stylites, Beijing) describes the difference
brands by local consumers. Despite Shenzhen’s
between Beijing and Shanghai in terms of hip versus chic,
population of close to 12 million, and a GDP ranking
if not locally distinct versus globally imitative: ‘Due to the
number three in China, after Beijing and Shanghai, the
number of artists, media types, and students, Beijing has
PRD attracts few independent fashion designers. In fact,
far more bohemian types seeking their own distinct look.
garment manufacturers in this area see themselves as
One might say that Beijing is hip, while Shanghai tries to
senior fashion designers. As such, the organizers of the
be chic. With all of its universities, galleries, and studios,
Shenzhen Fashion Week can state that ‘Shenzhen is
Beijing is the cultural capital of China as it has been for
quickly growing in importance with more than 3,200
centuries. For the entirety of its much shorter history,
apparel companies in the area and more than 30,000
Shanghai has been Western-looking. It comes as no
1
designers working for 800 domestic brands.’ With the
surprise that it would seek to imitate the styles of Western
ambition to become ‘The Capital of Women’s Fashion
capitals.’
Garment’ in China, Shenzhen has formulated a series of
19
The Differences –
Explained by Fashion Designers
– was featured in both V Magazine and the Vogue
Today Beijing attracts an increasing number of young
trademark is her unconventional fashion on stage, by
fashion designers, shows and concept stores.
Viktor & Rolf, Gaspard Yurkievich and Marjan Pejoski.
Independent, young, established, well-known, vintage,
One could argue that in Beijing fashion still can be shaped
retro, avant-garde, traditional; all types flock to the capital
within an open framework, as there are is more room for
to showcase their products, accessories, collections and
experimentation and a larger diversity of consumers with
labels. During the past decade, Beijing has also become
interest in fashion, luxury goods, art and music.
September 2011 issue by Mario Testino. Faye Wong is a
famous Chinese singer, songwriter and actress whose
the epicenter of China’s fashion media, with CCTV, iLook
Magazine, VISION. Beijing is also considered China’s art
Masha Ma, a young independent fashion designer based
capital, with areas such as Sanlitun, Jianwai SOHO and
in London and Beijing, believes that Shanghai will remain
798 Art District as home to a range of shops and
the epicentre for the development of fashion due to its
galleries, as well as to diverse fashion designers.
proximity to production and its stylish female population.5
Zhang Da (Fashion Designer, PARALEL [‘BOUNDLESS’]
Many young fashion designers choose Beijing over
/ [‘SHANG XIA’], Shanghai), who has worked in both
Shanghai, as the Chinese capital is perceived to have a
Beijing and Shanghai during the past few years, prefers
less-established fashion scene and to be open to finding
Shanghai, despite Beijing’s thriving fashion scene:
its own identity. They also come to the capital to show
‘The quality of life and fashion environment are better in
their international experience, set up shop, promote their
Shanghai, but Beijing still may become China’s fashion
labels and grab media attention. All these elements
capital. It’s more active, with more influential media, and
present a new form of internationalization for Chinese
more diverse customers than Shanghai, which has a large
fashion, not grounded in historic relationships or proximity
middle-class with a very homogeneous taste.’
to the garment industry, but based on creative infiltration
of international experiences into China’s political and
ZUCZUG, established in 2002, has over 60 stores
cultural capital.
throughout China, and a strong image amongst fashion
consumers of all stamps. It is telling that the Beijing store
In the Pearl River Delta, labels like Ricostru – founded by
is located adjacent to Brand New China or BNC in
Riko Machit Au in 2011 and based in Guangzhou – are
Sanlitun Village, which sells new and upcoming fashion
paving the way. Products from both its women’s and
designer’s labels. 6 Founder Wang Yiyang (Fashion
men’s lines are for sale on Ricostru’s online store as well
Designer, ‘ZUCZUG’ / ‘chagang’, Shanghai) agrees that
as in Beijing shops such as BNC and Dong Liang Studio.
the new Chinese fashion creatives and consumers are to
be found in the capital: ‘The people in Shanghai seem still
In Beijing there is growing interaction between the local
to hang in the traditional image of last century – Shanghai
music scene and fashion designers. Musicians take up
during the 1920s and 1930s. In the past 15 years,
different roles: they are customers, designers or owners of
Shanghai has opened up economically, but not in a
fashion stores, organizers of shows or models for new
cultural sense. If you are a fashion designer you must be
collections. Internationally, Taiwanese singer-songwriter,
in Beijing; it has diverse lifestyles, while in Shanghai
music and film producer, actor and director Jay Chou is
everything is more or less the same. Especially the young
the spokesperson for Metersbonwe Group, a large
people in Beijing are known for their willingness to try
Chinese apparel enterprise. Fashion designer Vega Wang
different styles.’
(Fashion Designer, Vega Zaishi WAN, Beijing) says:
‘I don’t really design men’s wear, except for friends; for
example, the drummer from PK14 – who also designed my
Beijing Retail
logo – and Zhang Shouwang of Carsick Cars.’ Another
The differences between the styles of Beijing and
collaboration is between former Hang on the Box
Shanghai can’t be explained only through historical or
frontwoman Gia (Wang Yue) who is working on a T-shirt
artistic analysis. By looking at a few stores, the differences
brand called Bad Taste with Pang Kuan, the keyboardist
in the consumer markets of each city become more
for the Beijing band New Pants, who runs the fashion
visible. The two cities use similar strategies of occupying
store Bye Bye Disco. Others such as Fu Han, the lead
diverse locations within the urban fabric: while in the past
singer of Beijing indie-band Queen Sea Big Shark –
Chinese fashion was mainly sold in department stores,
known as ‘the electronic dance rock fashion diva of China’
today’s market has become more varied with the opening
20
of countless small shops, catering to specific consumer
ristics, focussing on detailed knitwear and girlie frocks.
groups. Some of these shops also function as small
Dong Liang Studio store is located in the in trendy
creative platforms; others appeal to niche markets such as
Wudaoying Hutong, near the Lama Temple, and promotes
streetwear, retro, vintage and eco-design.
itself as an exclusive boutique for independent Chinese
designers. Founded in 2009 by designers Charles Wang
Brand New China, a design store in Beijing Sanlitun, was
and Nan Lang, Dong Liang collaborates with a dozen
founded by Hong Huang, (Chief Executive / Publisher
independent fashion designers/labels in China including
iLook magazine, BRAND NEW CHINA (BNC), Beijing).
He Yan, Ye’s, SFORZANDO, Sankuanz, (Na)too, JL,
All items in the BNC store are by Chinese designers,
Neither Nor and Liu2 among others.10,11,12 The shop
mostly born in the 1970s and 1980s. The 540m2 shop
currently stocks over 20 designers such as Uma Wang,
showcases a variety of contemporary Chinese design,
Xander Zhou, Vega Wang, Manchit Au, Zhang Da,
from modern and pop brands like NLGX, Plastered
He Yan, Leo Kong, Sarah Yun and Liu QingYang. In July
T-shirts, mkrt, to high-fashion elegance – VEGA ZAISHI
2011, Dong Liang Studio opened a store in Shanghai on
WANG, UMA WANG, Wei Ming Hui, Non Season,
Fumin Lu.
HEYAN [何艳]. In August 2011 Hong Huang signed Beijing
ESMOD-graduate Xiang Yaodong as the first in-house
In the neighbourhood of Beijing’s Drum and Bell Tower,
designer for her new BNC house line. In an article entitled
the curated space WUHAO stocks over 80 designers, all
7
‘Hong: There Is Hope For China’s Fashion Industry’.
either Chinese or China-inspired.13 Directed by Parisian
Hong states that ‘although the original idea of BNC was to
Isabelle Pascal, seasonal collections range from art,
stock works by individual designers, after a year of
lighting, installation and furniture to jewellery, fashion,
operation, now BNC is going to develop its own brand –
ceramics and other lifestyle products.
Designer for BNC.’ As BNC’s first signed designer, Xiang
Yaodong will create clothing for his personal brand, MOH,
Shops like Mega Mega Vintage and Bye Bye Disco, both
as well as additional collections exclusively for the new
located near Nanluoguxiang, show a growing consumer
MOH for BNC-line.
interest in retro and vintage goods.4 While Mega Mega
Vintage is an all-encompassing fashion store, Bye Bye
The objective of concept-store Triple-Major is to
Disco focuses on items made in China in the 1970s and
‘organize large-scale projects inviting international artists
1980s such as Fei Yue shoes and Mei Hua sportswear.
and designers to challenge the boundaries of fashion, art,
photography, cinema and more.’8 Exemplary is the shop’s
Set up by Peipei and keyboardist Pang Kuan, Bye Bye
2009–2010 Project White T-shirt, an exhibition in which
Disco taps into the vintage and retro-trend with a critical
31 avant-garde fashion designers from 13 different
eye: ‘Aside from traditional styles, we have nothing to be
countries were invited to transform, recreate and redefine
proud of,’ says Peipei. ‘I think that the retro styles we sell,
the basic white T-shirt. The pieces were exhibited in 2009
including eighties athletic clothing, are a lot cooler than
at LA’s Welcome Hunters and Space 15 Twenty Gallery,
what Nike and Adidas have to offer. The problem is that
followed by Wut Berlin in Tokyo and Beijing’s Ullens
Westerners “get it”, but the Chinese don’t catch on until
Center for Contemporary Art in the summer of 2010.
they see foreigners wearing these clothes.’15
Surfin’ Bird is an apartment-boutique, featuring some
ARRTCO, a blend of “art” and “cooperation”, is a fashion
well-known brands such as SFORZANDO (by Vega
retail apparel brand that merges interests in art, music and
Zaishi Wang), Opening Ceremony (UK), Daydream
fashion, and introduces original local brands along with a
Nation (Hong Kong), and other designer labels from the
cultural variety of clothing and accessories.16 Known for
9
UK. Owner and buyer Lu Qizhen previously worked for
its wide selection of Japanese and international labels,
Comme des Garçons in London’s Dover Street Market; as
ARRTCO Collection opened at the China World Trade
such the boutique’s philosophy is based on the motto
Center in April 2011, introducing the concept of ‘Design
‘Less commercial, happier’.
and Exhibition Shop’. ARRTCO by CHI ZHANG is a
limited fashion series developed in cooperation with
Bread n Butter boasts 11 stores in Beijing, including a
independent designer Zhang Chi (Fashion Designer,
showroom in the city’s premier upscale fashion spot:
CHI ZHANG [‘ARRTCO by CHI ZHANG’], Beijing),
The Village at Sanlitun. The brand originates from a humble
targeting the middle- and the high-end markets.
boutique in Paris, but has found immense success in China
with its French aesthetic combined with Chinese characte­
21
Xander ZHOU 周祥宇
Shanghai Retail
With its mélange of fashion, art and music, concept store
In Shanghai, Alter presents itself as ‘a multi-brand and
Fusion aims for ‘interaction and involvement with its fans
lifestyle concept store, synonymous with edgy and
and followers to realize a new culture’.20 It offers an
17
innovative fashion design and lifestyle wellbeing’. In
exclusive range of men’s fashion, with designer, formal
addition to showcasing, Alter blogs about Shanghainese
and casual clothing, accessories and shoes; as well as
street fashion a manner similar to Yvan Rodic’s
women’s wear based on the ‘aesthetics of beauty and
Facehunter.
18
Another well-known concept store, Younik,
desire’.
has been showcasing the wares of both up-and-coming
and established Chinese designers, including the
Given the legacy of Shanghai, it is not surprising that it
collection of Uma Wang (Fashion Designer, UMA WANG,
also offers a retro and nostalgic sense of fashion. Nio,
19
Shanghai), since it opened in 2004. Prominently located
raised in Shanghai and educated in Paris, is said to be the
in the Bund18, also home to Ermenegildo Zegna, Cartier
best young face to present nostalgic French style.
and Noritake, it prides itself on offering ‘exclusive
The website of her label Miss MEAN – an acronym for
collaborations and customized products that can
Mode, Elégance, Amour, Nature – explains her design
sometimes be considered more art than fashion’.
philosophy: ‘Our style is modern French combined with an
Asian sensibility; we focus on the expression of a women’s
personal charisma.’21
22
Urban Tribe is a low-key boutique influenced by the
Shanghai Fashion Week is organized by the Shanghai
simple lifestyles of people living in remote areas of China,
Garment Trade Association, and therefore involves
focussing on natural fabrics and traditional embroidery.22
mainly local brands. In 2011 Shanghai Fashion Week ran
Inspired by Tibet and China’s minority groups, Urban Tribe
alongside Mode Shanghai at the Shanghai Expo Center,
offers a unique collection of handmade pieces, including
combining high-profile runway events with a larger trade
loose-fitting clothing made from pure cotton, linen and
show. Within an international context, both Chinese fashion
hemp, sterling silver and jade jewellery, and a range of
weeks are still ‘essentially local events’, says Ye Qizheng,
home accents. The shop also sells pottery, copper
editor of the influential news site Fashion Trend Digest:
containers and antique furniture.
‘It’s tough for them to attract major media attention.
Besides, the role of Fashion Week as a trade platform isn’t
‘Style… with a touch of humanity’ is the way Shokay
describes it essence.
23
Founded in 2006, Shokay is the
world’s first lifestyle brand focussed on using yak fibres to
established in China, so there’s a small proportion of
buyers in the audience. Fashion buyer shops are still in
their infancy here.’27
provide maximum warmth, comfort and style, in classic
and modern designs. Priding itself on its social impact, the
Following is a list of the most important fashion events and
shop offers pre-made or custom-ordered clothes,
apparel fairs in China.
housewares and accessories made from pure yak down
by craftsman living in Chongming, an island close to
CHINA FASHION WEEK, Beijing
Shanghai. Shokay’s website even offers free patterns and
Establish in 1997, China Fashion Week is a renowned
knitting tutorials. In 2010 it opened the Shokay
platform for fashion design and trend shows held twice a
Showroom Germany in Berlin’s Charlottenburg.
year in Beijing. It includes fashion shows, contests, forums
and professional evaluations. It features awards such as
Streetwear is the main focus in shops like The Source
and The Thing.
24,25
Founded in 2006 in Shanghai, The
China Fashion Designer Top Award and China Top 10
Fashion Designer.
Source, a self-proclaimed ‘hub for street culture’ is
www.chinafashionweek.org/English/ShowArticle.
conceived as a store and gallery space that hosts music
asp?ArticleID=311
events, film screenings, discussions and product
launches, while offering an exclusive selection of London,
SHANGHAI FASHION WEEK
New York and Tokyo streetwear. The Thing, known as a
Shanghai Fashion Week is organized by the Shanghai
fun, affordable streetwear label, was founded in 2005, by
Municipal People’s Government and Shanghai Fashion
five young Shanghai designers that share a fascination for
Week Organizing Committee. With a focus on international
graphics. They believe that clothing can be a medium
interaction, it has not only upgraded the apparel industry
through which express any emotion or life perspective.
into the fashion industry, but has also made it its mission to
promote Chinese design. In 2010, Shanghai Fashion Week
Fashion Weeks
attracted a number of international designers and brands
The main difference between fashion weeks in Beijing or
Dutch Fashion Here & Now event from the Netherlands.
Shanghai lies in their operational organization. China
www.shanghaifashionweek.com
International Fashion Week in Beijing is organized by
http://sifc.org.cn/en/en_week.asp
such as Atsutot Ayama (Japan), ODEUR (Sweden) and the
the China Fashion Designers Association and involves
many nationwide fashion brands. It announces the ‘Top
MODE SHANGHAI
Ten Chinese Designers’ as stimulus for brand promotion.
As the leading international fashion trade show in Shanghai,
At the last A/W 2011 Fashion Week, 40 brands along with
Mode Shanghai is part of the Shanghai International
20 well-known designers and roughly 300 emerging
Fashion Culture Festival, organized by the Shanghai
fashion designers presented their collections. In its
Municipal Government. The show is designed to cater to
coverage of the Mercedes-Benz China Fashion Week S/S
the needs of global department stores looking to enter the
2012, JingDaily identified Beijing-based designers
Asian fashion retail business, and to offer an optimized
Qingqing Wu/VLOV and Yuan Bing, Zhejiang designer
business platform to retailers and fashion brands. It aspires
Qi Gan and Hangzhou-based designer Guo Baobao as
to bring together labels, connect buyers, and incite
emerging talents. The events were sponsored by
collaborations among fashion designers and artists from all
Mercedez-Benz and held at D Park in Beijing’s 798 Art
horizons.
District.
26
www.modeshanghai.net
23
SHANGHAI INTERNATIONAL FASHION CULTURE
JINHAN FAIR, Guangzhou
FESTIVAL
The Jinhan Fair is a bi-annual event showcasing a wide
The Shanghai International Fashion Culture Festival has
array of products in the apparel, textile and fashion
been held annually since 1995 by the municipal authority
accessories industry. Staged at the Poly World Trade
of Shanghai. It is regarded as one of the city’s ‘Four
Center Expo, 18 editions have been held since 2002.
Festivals’, along with the Shanghai Art Festival, the
Starting in 2010, the fair was repositioned with innovations
Shanghai Tour Festival and the Shanghai Movie and
for improved competitiveness and sustainability. As a
Television Festival. It offers a platform for Shanghai and
famous international platform specialized in domestic and
for the textile and fashion industry of China to promote
overseas trade, the fair displays apparel, fashion
communication and cooperation with a worldwide
accessories, denim wear and home textiles.
audience.
www.jinhanfair.com
www.modeshanghai.net
CHINA INTERNATIONAL CLOTHING & ACCESSORIES
FAIR (CHIC), Beijing
Notes
1
‘From made in China to designed in China’ |
www.marketingweek.co.uk/blogs/marylou-costa/from-‘made-in-china’to-‘designed-in-china’/3030604.article
2
‘Shenzhen’s garment sector promotes regional brands’ |
en.ce.cn/Insight/200901/12/t20090112_17929312.shtml
3
‘Zhang Xu Chao - Interview’ |
www.adversus.com/fashion/models/zhang-xu-chao
4
‘Jenny Ji: When East-meets-West becomes a lifestyle fashion brand’ |
www.cnngo.com/shanghai/shop/jenny-ji-eastmeetswest-design-neverlooked-so-good-239972
‘Masha Ma’ | www.satellitevoices.com/shanghai/fashion/407/masha-ma
Established in 1993, CHIC is co-organized by China
National Garment Association and China World Trade
Center Co., and has been held for 18 years. With an
exhibition area of 106,000 square meters, the past
session witnessed over 100,000 professional visitors and
more than 1,000 brands from all of the world. CHIC is one
of the most important fashion fairs in Asia inviting
franchisers, dealers and distributors. For foreign brands
looking to enter China, CHIC may provide a cost-effective
platform.
www.chiconline.com.cn
SHENZHEN INTERNATIONAL FASHION WEEK |
The Shenzhen Fashion Week, sponsored by the
Shenzhen Garment Industry Association, is one of the
5
6
‘BNC’ | www.beijingtoday.com.cn/tag/bnc
7
‘Hong Huang’s Beijing Boutique’ |
www.jingdaily.com/hong-huangs-beijing-boutique-brand-new-chinabnc-signs-first-in-house-fashion-designer/10730
8
Triple Major & Project White T-shirt | www.triple-major.com
& www.projectwhitetshirt.com
9
www.thesurfinbird.com
largest fashion industry shows in the entire Asia-Pacific
10
region. It is a crossover of suppliers and a vast array of
11
products running concurrently with specialized industry
12
events. The 10th China (Shenzhen) International Brand
13
Clothing and Accessories Fair (SZIC) included more than
14
4,000 booths distributed over nine halls.
15
‘Retro’s Spokewoman |
www.beijingtoday.com.cn/blogger/anniewei/​retro’s-spokewoman
16
www.arrtco.com
www.jleshop.com
www.liu2.com
www.wuhaoonline.com
mmvintage.blogbus.com
www.sznews.com/zhuanti/content/2008-06/18/
content_3050127.htm
17
www.alterstyle.com & blog.alterstyle.com
CANTON FAIR, Guangzhou
18
In 2011, the 55-year-old and largest fair in China, was held
19
in three phases at the China Import and Export Fair
20
Complex in Guangzhou. It featured more than 58,000
21
booths and attracted more than 24,000 exhibitors and
over 209,000 foreign visitors. Phase Three, held in May
2012, involved businesses from diverse areas of fashion
as well as home textiles; travel; and sports and recreation.
www.cantonfair.com
facehunter.blogspot.com
www.bund18.com/en/shop_en.asp?Class1=&ShopID=3
www.fusionfashion.net
www.missmean.cn
22
www.urbantribe.cn
23
24
www.shokay.com
www.thesource.cn
25
www.thething.cn
26
‘Home-Grown Designers Shine At China Fashion Week S/S 2012’ |
www.jingdaily.com/home-grown-designers-shine-at-china-fashionweek-ss-2012/12371
27
24
www.natoo.org.cn
‘Ye Qizheng Of Fashion Trend Digest’ | www.jingdaily.com/interviewchinese-tastemaker-ye-qizheng-of-fashion-trend-digest/12554
QIU Hao 邱昊
Vega WANG 王在实
Fashion Media
Introduction
while the younger generation embraces the attention and
Chinese fashion media have developed substantially
actively seeks out opportunities to promote their brands
during the past decade. Despite the strengths of the
and personalities.
sector – wide distribution, large consumer base and
intense promotion – it suffers from being uncritical, hyped
and unfocussed. International fashion magazines trickled
Media History, Critique and Analysis
into the Chinese market at the end of 1980s and middle of
Contemporary Chinese fashion media is quite different
the nineties, and exploded in the 2000s. As foreign
from the one in vogue during the 1980s. The shift in focus
magazines spurred the rapid development of new,
from production to promotion has been pivotal, as the
homegrown publications, Chinese magazines changed
earliest fashion magazines concentrated on professional
their focus from production and pattern-making to
development, providing designers with valuable industry-
promotion, lifestyle, stars and consumer-oriented
related information: ‘They were strongly pedagogical in
coverage. In China, overseas media groups are required
character, designed to introduce readers to various
to find a local partner to publish their magazines on the
aspects of an industry in the process of renovation: textile
Chinese market. The General Administration of Press and
technology, export standard requirements, fitting,
Publication regulates the media industry. Several Chinese
measuring, cutting, ironing, Chinese historical clothing
publishers have worked with foreign magazines to help
culture, and nationwide innovations in the production and
them obtain Chinese publishing licenses.
marketing of textiles and clothing.’2
Though still in a state of transformation, the publication
The growing international orientation of Chinese fashion
market is prospering due to advertising revenue.
magazines raises the question of style, taste and the
According to a report by CTR, a media market research
Chinese context. ‘The Growth of International Women’s
company, ad revenue in the magazine industry jumped
Magazines in China and the Role of Transnational
20% to $2.37 billion in 2010. In December 2011, Cao
Advertising’ examines the expansion of international
Weiming, managing director of Condé Nast China, the
women’s magazines in China and the importance of
publisher of lifestyle magazines including the Chinese
advertising as a major source of revenue. It sketches the
edition of Vogue, explained: ‘The business of fashion
following evolution: ‘Since Elle first entered the Chinese
magazines will continue to prosper in China in the coming
magazine market in 1988, the number of international
years even as the publishing industry suffers in the US
women’s magazine titles has risen dramatically and today
and Europe amid widespread Internet readership.
there are about 45 international titles available in China.
The driving force is the strong luxury goods consumption
Most of these magazines are the Mandarin editions of
which makes lots of international cosmetic and skin care
popular titles from the US or Europe, such as Elle, Vogue,
1
companies become large advertisers for magazines. . . .’
Cosmopolitan, Marie Claire, and Harper’s Bazaar.
However, there are also a number of Mandarin editions of
To Chinese fashion designers it is evident that the rapid
popular Japanese magazines that are also available in
evolution has brought great exposure along with media-
China, such as Rayli, Mina, With, and ViVi.’ 3
overkill and fatigue as they are constantly solicited by
various type of media: print, television and internet.
Further on, the same study examines the content and
The older generation critiques the uncritical coverage,
adaptation of both Asian and Western magazines for the
27
QIU Hao 邱昊
local market and notices that more than 50% of local
Sina Weibo: ‘Chanel invited several notable Weibo
magazine content is editorial matter, while most content in
personalities to its runway show . . . a move to harness
Japanese and Western women’s magazines is
these individuals’ large followings. The Chanel runway
commercial.
show – which featured an impressive volcano backdrop
– included guests like actress Hilary Tsui, contemporary
Maple Jiang (Fashion Director, Vision magazine, Beijing)
artist Yi Zhou, Sina Weibo micro-blogger Yao Chen and
points out that in China, the fashion media – both
Sina blogger Han Huo Huo.’5
internationally and domestically oriented – are a new
Other online-strategies include the iLOOK-app that acts
phenomenon. The challenge is for young people to find
as an extension to the magazine, arranging popular
their own way, she explains: ‘The greatest advance of
fashion topics according to themes, while featuring special
China media is not necessarily related to how
reports on rising stars and editor’s notes by Hong Huang
professionals report about the international brands or to
(Chief Executive / Publisher iLook magazine, BRAND
how fashion designers make magazine editors sit in the
NEW CHINA (BNC), Beijing).
first few rows of fashion weeks. It is in the attention given
chance to present their talents and be accepted by the
Young Designers and Media –
Positioning and Promoting
public.’4
Media support has been instrumental to the young fashion
to young domestic designers, who need great courage
and good judgment. Through the media, some have the
designer Xander Zhou (Chief Fashion Designer, XANDER
Next to the printed media, one sees the emergence of
ZHOU, Beijing) in his effort to position himself within the
Chinese online media during international fashion weeks.
up-and-coming fashion scene. He explains: ‘When I
Without question this is a business and marketing strategy
returned to China in 2007, after studying in the
to tap into and connect with the Chinese public. In 2011
Netherlands, it was a good moment to tap into the
Chanel invited a selection of Chinese fashion writers,
development of Chinese fashion. All sorts of Chinese
media and bloggers to cover the 2011 Paris Fashion
media wanted to support new creative talent.’
Week, including China’s micro-blogging service,
28
In 2009 Zhou was asked to be the editor of a special issue
Shanghai) echoes this answer: ‘Nowadays, I try to keep a
of iLook magazine, called ‘Gay China’, and produced one
distance from media. Chinese journalism is still immature;
of the magazine’s most successful issues yet.
they only report according to trends without taking a
He explains: ‘I was taking a risk when I accepted
critical view. They aren’t interested in your design
Hong Huang’s invitation to guest-edit the August 2009
philosophy. Therefore, I don’t care much about them either.’
issue. My first idea was to use ‘coming out’ as a theme.
First, because the issue appeared exactly one year after
Uma Wang (Fashion Designer, UMA WANG, Shanghai)
China hosted the Olympic Games, which some described
has a different view of the Chinese media; in her opinion,
as China’s ‘coming out’ to the world. And I wanted to
they have evolved from simply reporting to creating a
highlight new talent, like fashion photographers. For them,
context in which feedback is possible: ‘In the past, the
it could be also a ‘coming out’ to the public. And finally, the
media did not do a good job at supporting young
expression ‘coming out’ is often applied to gay people.
designers; they did not know how to deal with them.
I wanted to show the fashion sense of gay people. It was
But magazines such as Vogue China, Outlook, Modern
6
not about gay rights.’
Weekly, iLook . . . try to give opportunities to designers –
they provide feedback and expose their work to an
Augustus Meng (Design Director / Fashion Designer,
international audience.’
JWAS Design Group, Beijing) participated in a design
reality TV-show called ‘Creative Sky’, a fashion
Qiu Hao (Fashion Designer QIUHAO [ONE BY ONE/lab]
competition organized by China Central Television Movie
Shanghai) believes that domestic fashion media portray a
Channel CCTV6. The programme aims to identify and
skewed image of the Chinese fashion designer. Instead of
promote China’s ‘next great fashion designer’. The prize
recognizing designers for their collections, the media
for the winner includes the Parsons Award – a
hunts them down and propels them towards instant
scholarship to study at Parsons The New School for
stardom. Having had that experience, Qiu Hao keeps a
Design in New York, the Vogue Special Award and the
distance: ‘The media do not see my face often these days,
Vogue China appearance and opportunity to design for
and that’s good because I have to work. Back in 2007 I
Chinese movie stars. Vogue China’s January 2011 issue
had about five interviews each week and I had no time to
features five looks from contestants on ‘Creative Sky’,
work. When you are young you might enjoy the feeling of
presented by supermodel Du Juan.
being a star, but in the end you sense there is something
wrong; people recognize you as a famous person, but not
Meng believes it is hard to find one’s position within the
developing Chinese fashion scene. For him, the TV
as a designer.’
‘It’s hard to establish a group or to be famous in China.
Important Printed Media and
Fashion Bloggers
No one knows you, or has any clue what your designs
The following fashion magazines and blogs have served
stand for. So this was a great opportunity to produce a
as valuable resources during the making of this report,
fashion movie – not a traditional movie full of famous
and are recommended to others researching fashion in
actors and actresses, but one with some new faces.’
China. Some websites, such as AnyWearStyle – initiated
programme was a great opportunity to test his ambitions
and explore a new way to communicate his ideas:
by TimeOut Beijing’s fashion editor Alice McInerney – are
Fashion Media Fatigue
bilingual Chinese-English webzines reporting on fashion
Amongst the older generation, there is a certain
Chinese Fashion Bloggers and Fashion Trend Digest are
discomfort regarding the fashion media as it offers little
online aggregators for Chinese and international fashion
room for a critical stance, in-depth coverage or innovation.
blogs and news. E-Vogue is a national-level fashion
Fashion media is fast, superficial and carefree, luring in
information website, introduced by China Fashion
younger fashion designers with both positive and negative
Association. Shanghai Style File captures the who, the
effects. Zhang Da (Fashion Designer, PARALEL
what and the “wear” of Shanghai style; The Black
[‘BOUNDLESS’] / [‘SHANG XIA’], Shanghai) explains:
Renaissance understands the Chinese consumer from a
‘The young generation believes it is important to be close
Chinese perspective; and Vain Lane imports fashion
to the media, to be in Beijing. But for us – the older
knowledge from the streets of Shanghai. The Maosuit
generation – it’s less important. We hardly think about it.”
gives on-the-ground and up-to-date coverage of China’s
Wang Yiyang (Fashion Designer, ‘ZUCZUG’ / ‘Cha Gang’,
fashion and luxury industries; China Fashion Collective
news from within China and beyond. Others, such as
29
represents itself as an agency for Chinese fashion
designers; and Stylites is a Beijing-based fashion blog,
broadcasting fashion developments both on the streets
and on the catwalks. Run by Nels Frye, Stylites describes
the shifts in fashion trends he has witnessed first hand
during the past few years.
Fashion Magazines
• Bazaar | www.bazaar.trends.com.cn
• Elle | www.ellechina.com
• Esquire | www.hiesquire.com
• Grazia | www.grazia.onlylady.com
• iLook | www.ilook.com.cn
• Jessica Weekly | www.jessicasweekly.com
• L’Officiel | www.lofficiel.cn
• Marie Claire | www.marieclairechina.com
• Milk | www.milk.com.hk
• Modern Weekly | www.modernweekly.com
• Vision | www.youthvision.cn
• Vogue China | www.vogue.com.cn
• Vogue Men’s | men.vogue.com.cn
Fashion Blogs/Websites
• AnyWearStyle | www.anywearstyle.com
• The Black Renaissance | www.blackrenaissance.net
• China Fashion Bloggers |
www.chinafashionbloggers.com
• China Fashion Collective |
www.chinafashioncollective.com
• China Fashion Trends | www.chinafashiontrends.com
• Chinese People Have No Style |
www.chinesepeoplehavenostyle.com
• Chris Tang | www.fashiondes.com
• E-Vogue | www.e-vogue.com.cn
• Fashion Trend Digest | www.fashiontrenddigest.com
• Fossilized Seed | http://fsj.blogbus.com
• Fougere 2 | www.fj-2.com/blog/articles
• Fuck Yeah Chinese Fashion |
www.fuckyeahchinesefashion.tumblr.com
• Han Huo Huo | http://blog.sina.com.cn/hanshang
• iLook blog | http://blog.sina.com.cn/u/1218316043
• Mao Suit | www.maosuit.com
Notes
1
‘A leg up for Condé Nast’ | http://usa.chinadaily.com.cn/weekly/2011-12/16/content_14274783.htm
2
Finnane, Antonia, ‘Changing Clothes in China’, Columbia University
Press, New York, 2008
3
‘The Growth of International Women’s Magazines in China and the
Role of Transnational Advertising’ |
http://aejmcmagazine.arizona.edu/Journal/Fall2008/FengFrith.pdf
4
iang, Maple, ‘Fashion in China: on the road to development”,
DutchDFA Report contribution, Beijing, 2011
5
‘Chanel harnesses the power of China’s fashion bloggers at Paris
Fashion Week’ | www.jingdaily.com/chanel-harnesses-the-power-ofchinas-fashion-bloggers-at-paris-fashion-week/8010
6
‘Xander Zhou Speaks Out’ | www.forbes.com/2010/06/24/china-25fashion-designers-luxury-couture-zhou.html
• Nini | http://blog.sina.com.cn/u/1291021104
• Shanghai Style File | www.shanghaistylefile.com
• Stylites | www.stylites.net
• Vain Lane | www.vainlane.com
• Vogue Blog | http://blog.vogue.com.cn
• Yao Chen | http://blog.sina.com.cn/yaochen
Fashion Photography
• Gao Yuan | www.gaofoto.blogbus.com
• JoLiu | www.moko.cc/joliu
30
Re-printed from www.stylites.net website (courtesy Nels FRYE)
ZHANG Da 张达
Fashion Education
Educational Reform
He believes that to prepare for the market, students need
Chinese fashion education is changing along with
to experience it first hand: ‘We cannot neglect the
developments in the market, the industry and the world.
importance of medium-sized companies; they pay more
The change not only deals with understanding how young
attention on the production of their apparel than larger
fashion designers can set up independent brands and
companies, and account for a large portion of the industry
labels after graduation, but also with how they can be
in China. Our students need to learn to make their designs
prepared to enter large-scale companies or go abroad to
into real productions. Our main purpose today is to
further their study and knowledge.
cultivate international designers for China.’
In a recent article in the business section of China Daily,
entitled ‘Schools – Important Part of Fashion Trends’,
The Experience of Foreign Education
Yuan-Feng Liu, president of the Beijing Institute of Fashion
Young designers like Vega Wang, Xander Zhou and
Technology, sketches China’s education history: ‘Higher
Zhang Chi set up their labels after returning from Europe.
education in fashion began about 30 years ago . . . .
Xander Zhou (Chief Fashion Designer, XANDER ZHOU,
At that time, as a subject, apparel was still isolated from
Beijing) studied in the Netherlands, at The Hague
tradition and designers lacked an understanding of its
Fashion Institute, and explains how this education was
importance in society. . . . In the current environment of
important for his personal development: ‘I learned how to
globalization, Chinese apparel education has focussed on
connect to other people and to improve myself. I
market practicability and innovative fashion, and gradually
discovered what my position could be, and how I could
entered into the world of fashion design education trends
open my mind.’ Vega Wang (Fashion Designer, Vega
with a professional attitude.’ Further on, the article
Zaishi WAN, Beijing), who studied at London’s Central
identifies two important requirements for the instruction of
Saint Martins College of Art and Design, also stresses
new fashion design students: ‘First, Chinese universities
personal development as a motive to study abroad.
must pay particular attention to market demand. . . .
She says that the opportunity to tap into a richer and
Second, universities are gradually emerging as a platform
broader international cultural environment was crucial to
for international communication, and should start to
her development and contrasts this experience with the
actively seek international cooperation in design
design education in China: ‘They have a totally different
1
education and brand building.’
approach than the Chinese schools. In China, the teacher
tells you everything you should do, rather than helping you
Professor Liu Xiaogang (Deputy Dean, Fashion Institute of
to develop independently. In the UK, the teacher just gives
Donghua University, Shanghai) explains the challenge of
you a direction and you have to figure out how to do it by
design education: ‘Our educational purpose is to cultivate
yourself.’ Zhang Chi (Fashion Designer, CHI ZHANG
design talent for both companies and the art field. It is not
[‘ARRTCO by CHI ZHANG’], Beijing), who studied in
very difficult for fashion designers to work for a company
London and at Istituto Marangoni in Milan, expresses a
for one year. It is more difficult to cooperate for several
similar opinion: ‘I earned my undergraduate degree in
years. In those cases, the designer’s ideas can really
Britain and then went to Italy for a master’s degree in
contribute something to the company – not just for a small
fashion. This experience really enhanced my fashion
2
short term.’
sensibility. I think the British sense of fashion is rather
weird, but the Italian experience gave me direction.’
33
ZHANG Chi 张弛
For the older generation of fashion designers, such as
features the Museum of Ethnic Costumes, which aims to
Liang Zi (Design Director, TANGY, Shenzhen) and
provide a window into ethnic cultures through their
Uma Wang (Fashion Designer, UMA WANG, Shanghai),
garments.
studying abroad was more unusual. Although Liang Zi
The museum showcases the clothing and jewellery of
(Design director, TANGY, Shenzhen) had established
China’s many minorities.
Tangy as early as1994, she went to Paris in 1999 to do a
www.bift.edu.cn
three-month course at the Chambre Syndicale De La
Couture: ‘I wanted to broaden my horizons, not only to
ESMOD Beijing
gain valuable knowledge, but to have a taste of a
Established in 1841, ESMOD Paris is the oldest and most
fashionable urban environment. Some teachers in Paris
renowned fashion design school in the world. ESMOD
though I was already too experienced, but in fact,
Beijing was approved by the Beijing Municipal Department
I needed the experience; it prepared me for my future
of Education in 2004 as an institute of higher learning, and
career. At that time, Chinese fashion design and
it is the only school with the authorisation of ESMOD
education lagged behind Western countries.’ Similarly,
International Group. ESMOD Beijing has become the
Uma Wang (Fashion Designer, UMA WANG, Shanghai)
leading fashion school in China brings the best of French
enrolled in a course at the Central Saint Martins College
professional fashion instructors to China. The curriculum
of Art and Design in London in 2004, despite having
includes a three-year undergraduate programme, and the
been working as a designer since 1996. The vast
following post-graduate programmes: Fashion Design
experience she gained, led her to launch her own label in
Master, Master of Fashion Business, Fashion
2005: ‘I only chose three courses, as I also had a job.
Management Master of Advanced International.
I wanted to experience something new. At my age it was
www.esmodbeijing.com
not easy to throw everything aside and concentrate on
something new, but it completely opened my mind, and
International Fashion Academy Paris Fashion
entirely changed my direction.’
College, Shanghai
International Fashion Academy, better known as IFA
Leading Fashion Schools
Paris, offers undergraduate and graduate programmes in
In 1980, the Central Academy of Art and Design in Beijing
multidisciplinary collaboration. In partnership with the
established China’s first university course in fashion.
Shanghai University of Engineering Sciences, IFA Paris
As Lucy Montgomery explains in her 2010 publication
established its school in Shanghai in 2002, as the first-
China’s Creative Industries, the rise of universities offering
ever Sino-French joint venture in fashion education
courses in fashion education is the result of pragmatic,
approved by the Chinese government. IFA’s Shanghai
political and production developments intersecting:
school offers a unique opportunity to international
‘The Chinese government is paying more attention to
students who wish to spend all or part of the entire three-
fashion education. . . . Every local government is setting
year programme in China, as it provides the same high-
up a locally branded school of fashion design. They
quality curriculum provided in Paris, and all courses are
realize that apparel is a big market, and believe that more
conducted in English. IFA offers a Bachelor in Fashion
education, more companies and more talent will improve
Design and Technology.
the local economy.’3
http://ifa-edu.cn/ifacns
Following is a list of the most important fashion education
Jiangnan University School of Textiles & Clothing,
programmes in China. The descriptions are selected from
Wuxi
online content, where available.
The history of the School of Textiles & Clothing of
design, technique and business in an environment of
Jiangnan University goes back to 1952, when the Wuxi
Beijing Institute of Fashion Technology
School of Textile Industries was established. There are
Founded in 1959, the institute has 7,000 students and 700
three departments within the School, including Textile
academic staff, and is composed of five schools: Clothing
Engineering, Textile Chemical Engineering and Clothing
Design & Engineering School, Polymer Materials &
Design & Engineering. Its five main teaching laboratories
Engineering School, Art Design School, Business School,
provide for education and research in textile and chemical
Industry Design & Information Technology School; plus
engineering, clothing design and engineering and textile
two departments: Foreign Language and Painting.
materials.
The building of the Institute of Fashion Technology
http://fangfu.jiangnan.edu.cn
35
Donghua University Art & Fashion Design Institute,
Tsinghua University SEM, Beijing
Shanghai
To promote international exchange in fashion, luxury and
Donghua University, a public university in Shanghai,
other relevant industries and to accelerate the training of
administered by the Chinese Ministry of Education and the
leaders and advanced managerial talents in China’s
local municipality, was founded in 1951. Donghua
fashion and luxury industry, the School of Economics and
University has 12 colleges, including the College of
Management (SEM, since 1984) of Tsinghua University,
Fashion & Art Design and the College of Textiles.
the Institut Français de la Mode (IFM, the Paris-based
The College of Fashion & Art Design has a Department of
center of training and expertise in fashion, luxury and
Fashion Design & Engineering and a Department of
design) and HEC Paris (the leading European business
Fashion Art Design. The school has 138 teaching staff,
school) co-organized and launched the Advanced
including 11 professors, 29 associate professors,
Management Program in Fashion & Luxury in 2006.
50 lecturers and six world-renowned designers employed
http://cms.sem.tsinghua.edu.cn/semcms/
as consultant professors: Emanuel Ungaro, Olivier
ALLPROGRAMS/37968.htm
Lapidus, Deniel Tribouillard, Sonia Rykiel, Gianfranco
Ferre and Missoni.
Dalian Polytechnic University, Dalian
http://fzys.dhu.edu.cn
Founded in 1985, the Institution of Fashion of Dalian
Polytechnic University provides three majors including Art
Raffles Design Institute, Shanghai
Design, Photography and Fashion Design & Engineering
Established in 1994, Raffles Design Institute, Shanghai
with six academic programmes: Fashion Artistic Design,
(formerly DHU-Lasalle International Design College), is a
Fashion Design & Engineering, Image Design, Fashion
joint venture between Singaporean education provider
Design & Performance, Decorations Design and
Raffles Education Corporation and Donghua University,
Photography. With a teaching team of 58, including six
China. Its current capacity is over 3,000 students, from
professors, the university has promoted international
both China and overseas. With a high education standard,
cooperation with schools in the UK, France, Italy, Japan,
advanced teaching theory and methods, sophisticated
Korea, New Zealand, Canada and the USA, among
teaching equipment, and a strong management team, the
others. It was declared a National Advanced Teaching
institute is well recognized for its excellence.
Unit, and a Top Ten Fashion School in China.
http://sh.raffles.edu.cn/en
http://fzxy.dep.dlpu.edu.cn/index1.html
MOD’ART International College, Shanghai
Xi’an Polytechnic University, Xian
Shanghai University-Paris International Institute of
The Clothing & Art Design College of Xi’an Polytechnic
Fashion and Arts is jointly run by Shanghai University and
University was established in 1912. It is recognized as one
MOD`ART International. It adopts advanced French
of the top 10 apparel schools in China by the Chinese
teaching methods and embodies Western cultures.
Fashion Design Association. The students take part in a
The school is making great efforts to raise its education
variety of domestic and international competitions in
quality and artistic standards. Two majors are offered at
Hong Kong, Singapore, France and other European
the institute: Fashion Design/Pattern Making and Luxury
countries. The school collaborates with Lectra, Modaris
Marketing & Management.
Expert for pattern making, Diamino Fashion for marker
www.modart-sha.com
making, and Kaledo for fashion and textile design.
http://fuzhuang.xafa.edu.cn
Zhejiang Sci-Tech University, Hangzhou
The university founded its programme of Fashion Design
and Engineering in 1988 and is the first university in
Zhejiang Province to offer such a programme.
The discipline started to enroll students to study for
master’s degree in 1986. In 1998, the school was
recognized as the famous fashion college and was
selected as the Zhejiang Provincial Key Supporting
Discipline in 1999. It was listed as the Zhejiang Provincal
Key Discipline in 2002 and was re-listed in 2004.
http://www.zstu.edu.cn
36
Notes
1
‘Schools important part of fashion trends’ | www.chinadaily.com.cn/
usa/business/2011-06/17/content_12724549.htm
2
Liu, XiaoGang, ‘Art Design Education and Market Development in
China’, DutchDFA Report contribution, Shanghai, 2011
3
Montgomery, Lucy. ‘China’s Creative Industries’, Edward Elgar
Publishing Limited [Cheltenham, 2010]
Jenny JI 吉承
Frain WANG 王逢陈
Fashion and Apparel:
Market Landscape
and Entries
Introduction
exports in apparel increased from around 10% in 1990 to
A main characteristic of China’s fashion landscape is the
around 30% in 2007 (Au 2009). China’s total consumption
presence of large-scale apparel enterprises that dominate
of luxury goods such as jewellery, fashion clothing, leather
the market in terms of volume and turnover. In China
products and perfume topped $8 billion in 2007,
Fashion – Conversations with Designers, the development
accounting for 18% of global spending in this area.
of the Chinese fashion industry since the opening and
The prediction is that China is likely to become the world’s
reform period of the 1980s is explained as a result of the
biggest luxury market by 2014 (China Retail News 2008)’.
‘improvement in the economic system [that] motivated
individuals to ambitiously develop private businesses. . . .
When it comes to Intellectual Property (IP) protection, the
At the same time, within the new economic framework,
aforementioned publication argues that counterfeiting
individual designers had the opportunity to build their own
allows some manufacturers and retailers to profit from a
labels and business units. Most important, the new
creative process that they have not invested in.
economic system increased the financial power of people
The impact of this form of copying is low, however, as
and gave birth to a new generation of middle class and
counterfeited apparel and accessories are largely
millionaires, a group of people who appreciate a
purchased by sections of the market that would be unlikely
designer’s products and are therefore its major
to purchase the genuine article.
1
consumers’.
On an institutional level, a diverse set of organizations
The 2010 publication China’s Creative Industries provides
represent fashion designers and related industries.
statistics indicating the impressive size of the market, but
Organizations such as the China Textile Network Co.,
also its volatility, evidenced by the effect that the 2008–
Ltd., China National Garment Association, Shenzhen
2009 global financial crisis had on China’s textile and
Garment Industry Association, China Fashion
apparel manufacturers. By 2008, about one-third of these
Association (and its portal E-Vogue.com.cn), Sino-
companies – largely located in the southern China – had
Europe Fabric & Fashion Cooperation Club, China
2
shut down. Despite this near collapse, ‘the economic
Fashion Colour Association, and China Textile
opportunities associated with the global fashion industry
Industry Association might provide an entry point for
have been difficult to ignore: in 2008, the accumulated
future interests in the Chinese market.
export revenues of the Chinese apparel industry were
US $119,790 billion (China Research Intelligence 2009).
In 2006, China became the world’s largest apparel
exporter (McCormack 2006), and its share of global
39
Large-Scale Apparel Enterprises
Family and Hart Schaffner Marx. Mayor, CEO and GY
This chapter looks at the top private fashion and garment
originate from the Youngor’s existing brands, focussing on
enterprises established during the 1990s and their current
business people and young, trendy groups. China Hemp
ambition to tap into e-commerce, giving insight into the
Family, Youngor’s self-developed green hemp product
tremendous scale of local production, local markets and
line, has been displayed in hemp-life shops in Ningbo,
industry. These enterprises focussed initially on
Beijing and other cities. Hart Schaffner Marx, a well-
manufacturing, later on brand-building, and currently on
known brand from United States, is represented by
online sales.
Youngor in the China market.
Hangzhou-based label JNBY (JiangNan BuYi Garment
Bosideng, founded in 1975, is the largest down apparel
Co.) is an example of a successful homegrown brand now
company in China. 6 With its headquarters in Changshu, it
entering the international stage, operating over 500 stores
cultivated the most significant design, production,
across China, Russia, Japan, Canada and the USA.3
processing and sales of down products in China.
JNBY has transitioned from being a manufacturer to being
It generates most of its RMB 5.7 billion ($886 million)
a brand-builder. Known for their simplicity, JNBY’s
annual sales within China, where it has roughly 8,000
products are recognized by the mass market as avant-
retail outlets. Since early 2009, Bosideng has been
garde. Founded in 1994, JNBY was conceived by 12
opening stores in the USA, Canada and Russia.
students who were inspired by the club wear of the late
Bosideng’s chairman and chief executive officer Gao
1980s and nineties. Nowadays they work with natural
Dekang briefly outlines his company’s history: ‘I was a
materials such as cotton, ramie, hemp, silk and wool and
farmer, a tailor and then an entrepreneur who turned a
are known for their complex cutting/construction
workshop with 11 workers in a small village into a clothing
techniques and design details that seem inspired by Yohji
empire with 8,000 stores, 19,000 employees and sales of
Yamamoto and Ann Demeulemeester. The success of
more than 22 billion yuan a year. I did all that in a mere
JNBY’s New York pop-up store, which opened in
22 years.’7 In June 2011, Bosideng aquired a six-storey
December 2009, paved the way for a permanent space in
property near Oxford Street in London, where it plans to
Manhattan’s SoHo, which opened early 2010. In a recent
house its down apparel and men’s wear flagship store,
interview, Zhang Bin, a Hangzhou-based spokesman for
and the group’s European headquarters.8
the company, stated: ‘Our target market is middle-income
women between 25 and 35, with a certain level of
Metersbonwe Group is one of China’s leading
education, who don’t blindly follow others. They are
casualwear apparel companies – targeting 18–25 year-old
knowledgeable. They have an attitude.’ Mr. Zhang also
male and female consumers, with its corporate slogan:
pointed out that the ‘company’s sales last year exceeded
‘Be Different’. Its product portfolio can be divided into
two billion yuan’.4
three product ranges: T-shirts, jeans and fashionable
winter clothes.9 Metersbonwe opened its first store in
Youngor Group started with a simple manufacturing
Wenzhou in1995 with initial capital of just RMB 200,000.
operation in 1979 in Ningbo, and gradually established
Set up by Zhou Chengjian, it is one of the Forbes China
textile and apparel, real estate and foreign trade, as their
‘Fashion 25’.10 By the beginning of 2007, the company
core business structure.5 The Youngor Group is now a
operated around 1,800 stores across China and had over
major multinational corporation, employing over 50,000
5,000 employees; in 2010 the Shanghai-listed company
people and operating a network of over 100 branch
led the leisure apparel market in China with more than
offices, over 400 company-owned stores, and over 2,000
5,000 stores nationwide and a sales turnover exceeding
outlets across China. Youngor Group Company Limited –
10 billion yuan ($1.5 billion). Metersbonwe has recently
a member company of the group – is listed on the
launched banggo.com, a new B2C e-business platform.
Shanghai Stock Exchange. The group reached sales
The company also has a private museum, The Meters­
volume of RMB 33.48 billion in 2010, with total net profit of
bonwe Costume Museum, located on the fifth floor of its
RMB 4.899 billion. With suits, shirts and casual wear as
flagship store in Shanghai, ‘displaying the traditional attire
its major products, the company has built a brand image
of Han Chinese and ethnic groups from around the
embodying maturity, understated confidence and quality
country.’11
lifestyle. Youngor Group had enjoyed the biggest share of
China’s shirt market for 14 consecutive years, and that of
the suit market for nine consecutive years. In 2010, it
launched five new brands: Mayor, Youngor, GY, Hemp
40
Ports Design Limited is primarily engaged in the design,
China. According to iResearch, in 2010 the company had
manufacture and retail distribution of ladies’ and men’s
a 28% share of China’s online garment sales, 10 million
fashion garments, and the sale of accessories such as
registered users and revenue of US $600 million.
shoes, handbags, scarves and fragrances in mainland
It focusses on bringing quality men and women’s fashions,
China, Hong Kong and Macau, under the PORTS brand
shoes, and other lifestyle goods to customers at
name, which has ‘redefined what it means to be “Made in
reasonable prices. In March 2009 VANCL formally signed
China”’. PORTS 1961 was founded in Canada in 1961 and
a contract with Beijing Institute of Fashion Technology,
migrated to Xiamen, China in 1993 where creative director
and established Garment E-Commerce R&D Center and
Tia Cibani spent seven years overseeing the brand’s
Garment Comfort R&D Center. With designers from
development. Cibani went on to open PORTS 1961 in the
around the globe, VANCL is said to be aiming to become
USA. The group currently focuses on the PRC market and
China’s version of the Gap, but with an exclusively online
is one of the leading international fashion companies in
presence. CEO Chen Nian, a former executive at Amazon.
mainland China with over 300 retail stores. PORTS
com and founder of VANCL.com, stated that the
products are sold in major department stores, retail stores
e-commerce giant expects sales to triple to RMB 20 billion
located in shopping centres, and stand-alone flagship
(US $3 billion) this year, and plans to triple its warehouse
stores in over 58 cities in China.
space by the end of 2011 to defend its leading share of
China’s online retail market.
Since 1988, the fashion group I.T has collected and
presented some of the world’s most interesting designers
to China via its four retail groups: I.T, i.t, ETE and double-
Market Entries for Foreign Brands
park. The company began in 1988 with a small,
The structure of this section is based on the 2009
200-square-foot shop featuring brands that were not
‘Market Survey Hong Kong - Design, Fashion and
readily available elsewhere in Hong Kong. Today it owns
Architecture’ report by Actrium Solutions (has not been
and retails a number of Hong Kong brands, and distributes
updated since?).14 Market entry is possible on several
European and Japanese brands such as French
levels such as:
Connection and A Bathing Ape. The company has a large
presence in Asia – the only area where it does business
Operate Retail Stores [Franchised or Self-Owned]
– with a total of 357 stores; 198 in Hong Kong, 139 on the
Luxury houses and sportswear brands commonly use this
mainland, eight in Taiwan and 12 in Macau. Its business
method. Most luxury houses prefer to run self-owned
model is made up of: a) in-house labels: b+ab,
stores so they can have total control of brand image.
Chocoolate, izzue and 5cm; b) multi-label stores: I.T sells
Luxury brands can easily sell their perfumes and
high fashion names such as McQueen and Dior Homme
cosmetics in local department stores, but when it comes
while i.t carries lower end brands like Fred Perry and
to ready-to-wear fashion, they are competing for space
Camper; c) mono-brand stores: Ann Demeulemeester,
and customers in a handful of luxury malls. Sportswear
Comme des Garçons, Maison Martin Margiela, and
brands usually expand through franchising. Mid-range
others. In addition, the group has forged a partnership
international labels such as H&M and Zara have opened
with BEAMS, the Japanese lifestyle and apparel group,
their own branded retail shops in China’s biggest cities.
with plans to bring Beams, Beams T and Beams Boy
International property consultants like CBRE, Knight
concepts to Hong Kong. Last month, it also opened I.T
Franks and Colliers International have branches in Hong
Beijing Market, China’s answer to Dover Street Market,
Kong and major cities in China to help foreign brands find
designed and edited by Rei Kawakabo. The group
shop space and negotiate terms on their behalf.
advertises itself as a springboard: ‘New and unknown
brands alike are nurtured by I.T and are given the
Market to Retailers
opportunity to test the water in new markets. If they pass
Apart from the luxury houses, most foreign brands
muster with our discerning shoppers, they have the
distribute their products in specialty stores and
opportunity to springboard into free-standing stores and
concession in mid-to-high-end department stores. Foreign
even greater exposure.’12
designers can approach leading retailers, such as I.T and
Joyce, which actively seek out fresh designers. Up-and-
VANCL was founded by Chen Nian, the original founder of
coming fashion designers can also approach upmarket
Joyo.com. VANCL began in 2007 as a small e-retailer,
stores like Lane Crawford who brought designers such
specializing in men’s shirts.13 Based in Beijing, it is now
as Alexander McQueen and Stella McCartney, Dries van
the largest independent online fashion apparel retailer in
Noten and Rick Owens to China.
41
Augustus MENG 孟祥千
Through Local Licensee/Distributors
couture business is all about connections, however, one of
Apparel retailers usually buy their merchandise through
the weaknesses of the fashion industry in China is a lack
local agents/distributors and wholesalers. Foreign apparel
of marketing expertise. If they are able to overcome
designers interested in selling to Hong Kong and China
cultural barriers, foreign and Chinese designers can team
might also consider selling through a local agent/
up to create win-win situations, helping each other to
distributor. Entering the market through an agent or
break into their local markets.
distributor is an excellent way to minimize the initial
investment. The difference between agents and
Network with Institutional Customers
distributors is: agents take orders in the supplier’s name
Approaching institutional customers such as banks,
while distributors act in their own name and may stock
hotels, airlines, restaurants and other service sectors may
products purchased from the manufacturer for resale.
open doors for foreign designers. The more imageconscious businesses such as hotels and airlines often
Pairing with Chinese Designers
prefer to invite renowned fashion designers to bid for the
For independent couture designers who do not have
jobs. The government purchases uniforms through public
sufficient capital to open their own shops, pairing with
tenders. Price and design are two important factors
Chinese designers can serve as an alternative way in. The
affecting institutional customers.
42
The vast landscape of Chinese Original Equipment
Fashion Organizations
Manufacturer, or OEM, offers other opportunities.
Following is a listing of relevant fashion organizations and
According to Renaud Anjoran, the man behind the ‘Quality
related networks.
Inspection Tips: Practical Advice for Importers Sourcing in
Asia’ website, knowledge about OEM manufacturing in
China Textile Network Co., Ltd. (CNTEX) was set up by
China is not in the hands of buyers, as ‘information simply
China National Textile & Apparel Council (CNTAC) and
does not exist in the open. . . . Business-to-business
China Textile Information Center in 1997 to provide
websites list the companies that pay, not the ones that
information support for the development of China’s textile
proved [sic] their good standing with solid customer
and apparel industries.22 During the past decade, CNTEX
references’.15
has become the most influential media and resource
Personal and professional knowledge on OEM reliable
centre of the industry, with two print publications:
partners can be accessed first-hand through participation
TA Weekly and Home Textile Times. Its highly influential
in local Fashion-OEM events. For example, the China
website provides original textile news, data and analysis
Shanghai International Fashion Production (OEM)
reports.23
Exhibition advertises itself as ‘an opportunity for Chinese
and Global buyers to meet ready-made garment
Founded in 1991, the China National Garment
manufacturers from China and Italy’.16 There are related
Association (CNGA) is a national non-profit organization
events, such as the international fashion trade show
for the garment industry with over 1,500 members,
MODE Shanghai, held as part of the Shanghai
including apparel brands, local garment industry
International Fashion Culture Festival, and organized
associations and well-known apparel cities and
by the Shanghai Municipal Government.17 MODE
townships.24 The association provides services for
Shanghai is designed to cater to the needs of global
government, industry, enterprises and society involved in
department stores looking to enter the Asian fashion retail
promoting the garment industry. Its major activities include
business, and to form an optimized business platform for
the organization of the China International Clothing &
retailers and fashion brands.
Accessories Fair (CHIC), the China National Garment
Association Award (CNGA Award), the China Fashion
As mentioned previously, foreign market entries might be
Forum and the Joint Convention of China Apparel
secured through connections with Hong Kong-based
Distributors and Retailers.25
retailers such as I.T or Joyce. Courtney Harold, Director
18
of Business Development at the American retailer ENK
China Fashion Association (CFA), headquartered in
International, made the following observation on entering
Beijing, is composed of designers, academicians,
the Chinese market: ‘ENK as part of the greater CHIC
technique experts, brand experts, column editors and
exhibition creates a perfect platform for small to mid-sized
fashion models in the fashion industry.26 CFA is devoted to
brands. The big brands have whole teams of people who
industry promotion, social service, and protecting
can come to China to set up an office and build their
intellectual property rights. China Fashion Week,
network, or partner with a large distributor from Hong
organized by CFA, is an international stage for famous
Kong. . . . We told the brands not to expect to meet a
domestic and foreign brands and designers to issue new
distributor who has worked on five high-end brands
fashion collections and show designs.27 CFA’s Golden
19
before, they just don’t exist in China.’
Award is the highest honour for China’s fashion
designers, and the annual China Fashion Culture Award
Another retail giant, Lane Crawford, entered the Beijing
market in October 2007.
20
Its first store, Lane Crawford
goes to brand enterprises, designers, fashion directors,
models, photographers, editors and dressers. Moreover,
Seasons Place, features more than 600 designer brands,
CFA has initiated Asian Fashion Union with Japan Fashion
more than half of which are new to China and still
Association and Korea Fashion Association. Since 2002,
exclusive to the retailer. With men’s and women’s shoes,
the Sino-Europe Fabric and Fashion Cooperation
jewellery, cosmetics and home accessories, the store is
Club, set up by CFA, forms a bridge between the textile
accented with art pieces by contemporary Chinese artists.
and garment industries, domestic enterprises and foreign
In December 2011 it hosted the A PLUS-exhibition,
enterprises. The E-Vogue website aims to ‘spread fashion
bringing together Chinese fashion designers with leading
information at home and abroad, to guide people’s fashion
artists from around the world.
21
life, to promote the development of fashion industry and
provide information and valued service’.28
43
Shenzhen Garment Industry Association (SGIA) is a
1,000 permanent overseas representative agencies;
non-profit social organization, established and registered
goods are sold to 187 countries/regions, and a quarter of
in 1988 and approved by Shenzhen Bureau of Civil
global chemical fabrics are transacted here. Items for
Affairs. Its 600 members include garment-, fashion- and
display at the China Textile City International
textile-related companies. The association organizes the
Convention & Exhibition Center annual expo include
Shenzhen International Apparel Fair, and the
fabrics, auxiliary materials, yarns, textiles & home textiles,
Shenzhen International Fashion Week, and publishes
textile raw materials, and design and production systems.
the eFlink website.
29
China Textile City has established business relations with
nearly half of national textile enterprises, and it has
China Fashion Color Association (CFCA) is engaged in
achieved an annual market turnover of up to RMB 100
fashion colour research, forecast, design and application.
billion.36
Established in 1982, CFCA became a member of the
International Commission for Fashion and Textile Colours
Shanghai Fashion Hub is located in a 10,000 m2 floor
in 1983.30 Affiliated with the China Association for
area for creative industries that was the former Shanghai
Science & Technology (CAST), CFCA operates under
the banner of National Federation of Textile Industry.
31
Clutch Factory. Established in 2004 by the China Fashion
Association and Changning district government, the hub
It has over 420 group members and 3,800 personal
focusses on bringing together fashion designers and local
members.
brands and developing fashion shows. Currently, there are
45 fashion, clothing and creative design companies based
China Textile Information Center (CTIC) is an
in the Shanghai Fashion Hub, as well as organizations
intermediary organization of the textile trade, established
related to the fashion industry, such as the Chinese
during China’s reform of governmental institutions and the
secretariat of Asia Fashion Federation and the Shanghai
national scientific research system.32 CTIC and China
office of China Fashion Association. The hub houses a
Textiles Development Center (CTDC) work together as
visual art centre called No.5 Workshop, a multimedia
one organization, and are also affiliated with the
database and exchange facilities. It offers R&D,
Secretariat of China Textile Engineering Society and the
negotiation, training, and information exchange for
Secretariat of China Fashion Color Association.
domestic and international fashion brands home and
abroad.
For more information on resources, see the online
directory: China Garment and Textile Database.33
Fashion Hubs: Textile City, Shanghai
Fashion Hub and ‘Fashion Silicon Valley’
In the next few years, the China Textile Industry
Association and Shanghai’s (West) Songjiang District
government plan to build a long-rumoured, sprawling
2,000- acre Fashion Silicon Valley designed as a talent
incubator, arts district, design hub, and production
Shanghai exercises its influence on the national fashion
centre.37,38 The planned cluster will form the home base
industry by acting as a hub for domestic and international
for 400-500 local and domestic brands, and include a
trade. The city contains three distinct epicentres of
design centre and brand operations hub for companies
commerce and/or creativity; in a nearby province;
and textile design firms. The planning committee
downtown, and soon in its outskirts.
anticipates that the vast complex will become the base of
operations for over 60,000 workers once fully operational.
China Textile City, located in Keqiao, about 230 km south
The strong textile culture of this area, located in the
of Shanghai Pudong International Airport, is ‘a textile
western part of the New Songjiang Industrial Zone, makes
distribution centre that’s so large, it’s almost impossible to
it one of the most suitable in the region for a project of this
34,35
imagine.’
. It is the largest textile professional market in
size and scope. The complex will neighbour seven
Asia, and the biggest trade centre in the world. Originally
universities, including the textile- and fashion-focussed
a street market, it became China’s first indoor textile
Donghua University.
market when it opened for business in 1988, sponsored by
the people’s government of Shaoxing County. The market
area is a sort of mini-city of 3.2 million square metres,
accommodating wholesale and retail transactions for
more than 40,000 kinds of fabrics.
With over 5,000 overseas permanent purchasers and
44
Re-printed from Tank Magazine - Online Edition Nr. 53. www.tankmagazine.com
Notes
1
Tsui, Christine, ‘China Fashion – Conversations with designers’,
BERG, New York, 2009
19
‘EKInternational Interview on the Chinese Fashion Market’ |
http://maosuit.com/interviews/​enk-international-interview
2
Montgomery, Lucy, ‘China’s Creative Industries’, Edward Elgar
Publishing Limited [Cheltenham, 2010]
20
www.lanecrawford.com.cn
21
www.lanecrawford.com/landing/featureArticle.jsp?article=6700002
22
www.fibre2fashion.com/news/association-news/cntac
3
www.jnby.com
4
‘Made in China strives for a fashionable cachet’ | www.theglobeandmail.com/report-on-business/international-news/global-exchange/
made-in-china-strives-for-a-fashionable-cachet/article2049470
23
www.ctei.gov.cn
24
www.cnga.org.cn
5
www. youngor.com.cn
25
www.chiconline.com
6
www.bosideng.com
26
www.chinaapparel.net/news/2008/2008-08-04/16499.shtml
7
‘Bosideng eyes mergers to beat slump’ | www.chinadaily.com.cn/
business/2009-02/24/content_7505574.htm
27
www.chinafashionweek.org
28
www.e-vogue.com.cn
29
www.eFlink.cn
30
www.fashioncolour.org.cn
31
http://english.cast.org.cn
32
www.ctic.org.cn/en
33
www.goldenlanterns.com/china-garment_resources.html
34
http://dsl.zgqfc.gov.cn/en
35
‘County Profiles - China Textile City’ |
www.textileworldasia.com/Articles/2010/May/April_May_June_issue/
China_Textile_City.html
36
‘Shaoxing County’ |
www.ctcte.com/2010/autumn/en/news/detail.php?id=1720
www.ctcte.com/2012/en/service/qfc.html
37
‘Songjiang - Shanghai Plans Massive “Fashion Silicon Valley”’ |
www.jingdaily.com/milan-paris-new-york-songjiang-shanghai-plansmassive-fashion-silicon-valley/12212
38
http://english.ctei.gov.cn
8
9
‘Bosideng arrives in London’ | http://blogs.ft.com/beyondbrics/2011/06/16/bosideng-arrives-in-london
www.metersbonwe.com
10
‘25 Influential Chinese In Global Fashion’ |
http://blogs.forbes.com/russellflannery/2011/06/26/
25-influential-chinese-in-global-fashion-full-list/ 6/26/2011
11
www.mbmuseum.org
12
13
www.ithk.com
www.vancl.com
14
‘Market Survey Hong Kong - Design, Fashion and Architecture’ | by
Actrium Solutions / EVD / Dutch Consulate General in Hong Kong
[January, 2009]
15
‘The role of reputation in China OEM business’ |
www.qualityinspection.org/​reputation-in-china
16
www.ctfe.com.cn/en
17
www.modeshanghai.com
18
www.joyce.com
45
LIU Yang 刘洋
Independents and
Production
The Challenges of Being an Independent Designer
Introduction
when we say we are a designer brand that we can pay
The road towards innovation, towards the creation of a
what you want for a small quantity with high quality, they
distinct fashion style and quality, lies at the heart of the
respect it.’ Uma Wang says that about 80% of her fabrics
profession. For many young and established fashion
come from Italy, and 20% is in house production. To her,
designers, the transition away from labour-intensive
the contemporary climate for young and upcoming fashion
manufacturing towards higher-value-added areas of
designers is still difficult: ‘Why do we also produce in
production, such as design and brand development, is an
Italy? Because there they do no have minimum order; and
important aspect of their profession. For many
they enjoy working with designers. Chinese companies
independent fashion designers, success is linked to
are still not looking forward; see no future in growing with
knowledge of how to produce clothing, albeit a process of
a designer’s brand.”
trial-and-error.
Qiu Hao (Fashion Designer, QIUHAO [ONE BY ONE/lab],
Independent Fashion Designers
Shanghai) agrees that it is the task of the contemporary
The opportunities that young designers enjoy today were
Another strategy, he explains, is to bring in colleagues:
not available to the older generation. Christine Tsui
‘I have been searching for manufacturers for two years:
explains that it was difficult for the first generation of
now we can find leather, silk, knitwear, jersey. People do
Chinese designers to access high quality fabrics.
it, but you need to explain your working process. Slowly
‘Most factories produced products for mass-market use.
we can change the mindset on the other side. Nowadays
The other common challenge was finding qualified sales
we can even dye our own fabrics for an extra fee. I also
agencies and trying to get into the department stores.
bring in other designers, introduce them to manufacturing.’
Chinese fashion designer to balance quantity with quality.
Designers often found themselves involved in everything
but design.’1
Wang Yiyang (Fashion Designer, ‘ZUCZUG’ / ‘chagang’,
Shanghai) graduated from the Fashion Design Institute of
Uma Wang (Fashion Designer, UMA WANG, Shanghai)
Donghua University in Shanghai in 1992 and became the
identifies her label as one that cares about quality and
chief designer of the renowned brand Layefe. In 2002 he
respects the labour involved. When asked how she
teamed up with friend to establish a new brand of
learned to operate within the system, she says: ‘Before
woman’s wear – ZUCZUG – which now has over 60 stores
starting my own label, I worked for 10 years for different
in China. Recently he developed a line based on organic
domestic brands. So I know a lot of factories, fabrics and
cotton. When asked what one can learn from his
customers. . . . Normally, when you say you want to
experience, Wang Yiyang says: ‘When my generation
produce 100 pieces, they think you’re joking. But now,
finished college, it was difficult to become an independent
47
designer. The only thing we could do was to go work for
Uma Wang, Decoster, Pari Chen, and others. CFC
department stores. There was no choice, but to be
works with designers who have ‘a unique sense of
commercial. But today things are better; the media is
aesthetics in fashion partially derived from a unique
more concerned; it is easy to get famous; there are stores
culture, history, and philosophy: their work reinterprets
like BNC that support the local designer brands. We are
and reflects on this heritage in non-literal and non-
totally different.’
superficial way.2
Belgian and Japanese designers are often cited as
models for how one can develop and promote a brand.
Ecological Production
For example, Qiu Hao (Fashion Designer, QIUHAO [ONE
Chinese fashion is gradually picking up on an eco-
BY ONE/lab], Shanghai) admits to having studied the work
conscious approach to producing clothes. Shang Xia,
and business of Martin Margiela: ‘Nowadays I avoid
China’s Hermès partner, is one brand making green
questions about the influence of Margiela on my work, as
fashion for the luxury market, while shops in Shanghai
that is something of the past. But it was important for me
such as Urban Tribe and Shokay are developing lines
to do research about him, about his way of thinking, how
focussed on heritage, craftsmanship, and community
he uses materials, the way he runs his business and how
building, exploring natural fabrics and ancient production
marketing and packaging work. He created a different way
techniques.5,6,7 There are also fashion lines that use this
to style his products. I learned a lot, so now I have clearer
approach to produce modern collections, albeit not locally
ideas about what I can do and how I can develop.’
sourced.
For the Shanghai-based luxury brand Shang Xia,
Jenny Ji (Founder / Fashion Designer, LA VIE Design
Zhang Da (Fashion Designer, PARALEL [‘BOUNDLESS’]
Studio, Shanghai) has an exclusive supply of a handmade
/ [‘SHANG XIA’], Shanghai), creator of the artistic label
material from London. She has used organic fabrics and
Boundless, is developing another line of work based on
100% bamboo fibre knitted fabric for her ‘Food Lover’
craftsmanship, tradition, luxury and lifestyle. With a dual
2008 F/W collection, and organic coloured cotton,
focus on art – which he can control as an independent
recyclable materials and natural fabrics for her 2009 S/S
designer – and crafts – which he is involved with as a
collection. Recently, she described what it means to be an
collective – his experiments in the field of fashion are
eco-fashion designer: ‘When I started this label, I insisted
gaining critical recognition. Referring to the production of
on eco-friendly materials, which was unusual in China.
the Shang Xia brand, Zhang Da explains how the Chinese
The fabrics are very comfortable; you can feel the
lack of awareness of its own traditional culture hinders
difference. We want La Vie to be an environmentally
cooperation with craftsmen: ‘Chinese regulations limit
friendly brand, not only in its products, but in its business
opportunities to work with craftsmen. I have been to
practices.’8 For Jenny Ji the new direction for fashion in
Nepal, to Cambodia, where they explore many methods.
China is to connect with production and the industry,
Germany and France have opened factories there, and
thereby forging new methods of working, and a
take advantage of local technique to produce excellent
sustainable chain of production. In 2008 she participated
work. At the same time, these countries give back; they
in the EcoChic Shanghai fashion show, together with
support the craftsmen. In China, hardly anybody wants to
12 Chinese designers dealing with eco-design.9 The show
buy this kind of expertise.’
featured 40 local and international designers and showed
vintage and second-hand clothing; sustainable local and
Although many independent designers are relatively
international ready-to-wear labels, and sustainable
successful with their own collections and distribution
couture made from sustainable textiles.
networks, it is still hard to acquire their labels. Recently,
interactions between these designers and agencies such
With over 200 stores in China, Liang Zi’s (Design director,
as the China Fashion Collective (CFC) have begun to
TANGY, Shenzhen) brand Tangy is one of the first, most
make their work more accessible.
2
successful and critical fashion companies dedicated to
The CFC, started by Timothy Parent’s ChinesePeople­
merging craftsmanship with business.10 The website
HaveNoStyle blog describes itself as ‘an American
states that ‘as a high-end brand, Tangy Collection offers
agency based in Shanghai that represents and cultivates
an exquisitely fashionable and environmentally conscious
more than 20 of the top domestic fashion designers in
lifestyle, already adopted by various circles of society –
China’.3,4 According to the China Fashion Collective
artists, stars, and scholars.’
website these designers include Boundless, Cha Gang,
48
Tangy is known for its use of environmentally friendly
fabrics: cottons, silks, hemp, and especially liangchou,
also called ‘gambiered Guangdong silk’ or Tangy Silk.11
Liangchou, which has a thousand-year history, is silk dyed
using nectar from a yam grown in China’s southern
Guangdong Province. ‘A bolt of silk is processed into
gambiered Canton gauze through bleaching and dyeing
up to 30 times, and a five to seven-day exposure to the
sun, a quite complicated and energy-consuming
procedure.’12
For Liang Zi (Design director, TANGY, Shenzhen), the
production of her silk collection always has been a
development that kept an eye on eco-design, recycling
and re-use of materials. ‘In our opinion, nothing is waste, if
you can research it for its own character. In the beginning
we made some garments didn’t make profits, but
afterwards we began to research the silk and work with it
in new ways.’ Since then, she has promoted the use of
liangchou in her designs. ‘The cloth is very special; each
side has a different colour: the dark-side looks like black
pottery while the coffee-coloured-side with the irregular
texture looks like the remains of bones or tortoise shells
unearthed from the Shang Dynasty.’13
In September 2009 LiangZi Corporation and the
government of Shunde, in the Pearl River Delta, met to
discuss the establishment of a ‘Protective base of
intangible cultural heritage of Tangy Silk’, in order to
protect and save the Tangy Silk treasure. As an
extraordinary legacy of the ancient Chinese culture,
UNESCO awarded Tangy Silk with the special recognition
of ‘Protecting World Natural Culture Inheritance.’
Notes
1
Tsui, Christine, ‘China Fashion – Conversations with designers’,
BERG, New York, 2009
2
www.chinafashioncollective.com
3
‘China Fashion Collection’ | www.creativehunt.com/shanghai/articles/
shanghai-chinafashioncollective-timothyparent
4
www.chinesepeoplehavenostyle.com
5
www.shang-xia.com/en
6
www.urbantribe.cn
7
www.shokay.com
8
‘When East-meets-West’ | www.cnngo.com/shanghai/shop/
jenny-ji-eastmeetswest-design-never-looked-so-good-239972
9
‘EcoChic Shanghai’ |
www.redress.com.hk/projects/fashion-shows/ecochic-shanghai
10
www.tangy.com.cn
11
www.tangysilk.com
12
‘Venerable Canton Gauze Goes Glamorous’ | http://en.radio86.com/
chinese-media/venerable-canton-gauze-goes-glamorous
13
‘Key to the Tangy secret’ |
www.newsgd.com/culture/art/200306130032.htm
49
QIU Hao 邱昊
The Creative Challenge
of Two Labels
Combining Critical and Marketable Approaches
Introduction
need to understand. We do it this way to survive in China,
Many designers find it advantageous to develop two
as there is no space in the industry for independent
complementary labels: one, personal and artistic, that
designers.’
lends itself to concept stores; the other targeting
department stores and the public at large. This double-
Jenny Ji (Founder / Fashion Designer, LA VIE Design
design format, pairing cultural and more commercial-
Studio, Shanghai) created La Vie in 2002 and has two
driven development, can be seen in the works of
chain stores in Shanghai, including the fashion landmark
Wang Yiyang (Chagang and ZUCZUG), Zhang Da
Bund 18. With her second label The Wedding she
(Boundless and ShangXia), or Qui Hao (Qiu Hao and
focusses on a haute couture bridal collection and a
One by One). All three designers represent the ‘seventies
lingerie line. ‘There’s no designer lingerie,’ she explains.
generation’ and have an in-depth understanding of the
‘A lot of my customers couldn’t find lingerie that wouldn’t
Chinese fashion market – its limits and immense potential.
change the shape of the dress. So we thought, why don’t
During the past decade, they have found a relatively
we design wedding and honeymoon lingerie sets?’2
independent position and explored both commercial and
Uma Wang (Fashion Designer, UMA WANG, Shanghai) is
artistic lines for niche-markets.
an exception to the double-brand trend, with only one
Chen Xiang of Decoster has successfully opened stores
high-end collection in production. She feels the pressure
in all of China’s first-tier cities and Japan, and is now
to have another more affordable line but so far has
1
expanding into China’s second-tier cities. In Lucy
resisted: ‘I want to work with passion on every piece; it
Montgomery’s China’s Creative Industries, Chen
has to come from my heart. People ask me why I do not
explains how the market is expanding and maturing,
develop a second line, a more commercial one, to sell
thereby creating more opportunities for domestic
more. First I need to make the first line stronger;
designers: ‘Retail channels like department stores and
afterwards maybe I will create something for everyday
shopping malls have been very eager to welcome foreign
wear.’
brands. . . . But, after several years, retail outlets have
begun to understand that not all foreign brands are
successful. In the past two years, department stores
Fashion as Art as Critical Acclaim
started to pay more attention to domestic brands.’
As one of China’s most experimental fashion designers,
Zhang Da (Fashion Designer, PARALEL [‘BOUNDLESS’]
Qiu Hao (Fashion Designer, QIUHAO [ONE BY ONE/lab],
/ [‘SHANG XIA’], Shanghai) has been venturing into
Shanghai) explains: ‘We have two brands; one is more
artistic circles with his Boundless collection. This
commercial, with a lower price range, so people can buy
women’s wear label started in 2005 as a limited edition
and wear it. The other, the Qiu Hao collection, people
fashion practice: ‘There are two parts to my work. One is
51
my own brand, which is relatively small-scale. My second
Wuyong’, a series of catwalk events at the Victoria and
job is for Shang Xia, where I am in charge of fashion and
Albert Museum, London.10 ‘Useless’ was also the title of a
textile design, and also do some accessory design.’
3
documentary made by Chinese director Jia Zhang Ke on
His work has been included in exhibitions in Rotterdam,
Ma Ke’s philosophy and production. The movie was the
London, and other cities, and he recently led a four-part
second in Jia’s Trilogy of Artists, a series of portraits of
design series at 798’s Ullens Center for Contemporary
Chinese artists who he wants to introduce to a larger
Art [UCCA] in Beijing.4 In his project ‘Hidden Fashion’ at
audience.
Vitamin Creative Space, he uses donated cloth ‘to
investigate the relationships between our bodies, clothing
Several international exhibitions have featured Chinese
design, such as the 2006 ‘China Contemporary’
5
material and life.’
exhibition in Rotterdam, which included the works of
Wang Yiyang (Fashion Designer, ‘ZUCZUG’ / ‘chagang’,
Zhang Da and Wang Yiyang. In 2010–11, ‘Mao to Now:
Shanghai) has two collections: ZUCZUG, targeting the
Chinese Fashion from 1949 to the Present’ featured the
mass market and selling in over 60 shops all over China;
work of four Chinese fashion designers – Wu Haiyan,
and Chagang, a more personal label featuring ‘concept
Liu Canming, Wang Yiyang and Zhang Da.11 In addition to
apparel’.6 He describes them as follows: ‘I’ve focussed on
dress and accessories, the exhibition featured
ZUCZUG for nearly 10 years. . . . Our models are normal
photographs by high-profile Chinese journalists. In 2010,
people; that means “easy to wear”. Last year, we started
Ma Ke’s work was featured in the NAi exhibition ‘Taking a
developing men’s wear with a new brand, Chagang.
Stance’, which toured Beijing, Shanghai and Shenzhen.
We do not think about its market; with Chagang we’re
dealing with the critical development of fashion, rather
than a commercial business.’ The Shanghai-based
Fashion as Art as Instant Fame
designer-entrepreneur anticipates that the evolution of the
For many young designers, art-related exhibitions and
fashion industry in China will be determined by the way
collaborations are an intrinsic part of starting up a brand.
fashion designers engage with new forms of
‘Beyond Fashion’ at Beijing’s Beyond Art Space exhibited
communication, and benefit from online sales. Collections
especially commissioned fashion pieces made in
will be sold on the basis of the brand’s image – not in the
response to fine art.12 The curators paired eight young
dressing room. This observation corresponds to the rise
contemporary artists with eight fashion designers to
of brands and online shops such as VANCL7. ‘
display the crossover of artistic fashion inspiration.
The Internet is a big change,’ he explains. ‘It’s important to
Amongst others, Qiu Hao, Uma Wang, Vega Wang and
learn to communicate with young people that live in front
Zhang Chi were selected.
of their screens. They have many choices. So it not only
about selling products on the Internet, but about the way
With a strong focus on brand establishment and
thinking changes. It’s not like Japanese or Belgian fashion
recognition, many young designers see themselves
in the 1990s. Nowadays we need something new. This is
developing as single-brand fashion designers. This does
what excites me.’
not mean that they have chosen between artistic or
commercial orientation, but that they are ready to
Ma Ke (Fashion Designer / Design Director, ‘EXCEPTION
reinterpret the profession of fashion designer.
de MIXMIND’ / ‘Wuyong’, Guangzhou) is known as one of
Their biggest concern is how to become a stable brand,
the most experimental and critical fashion designers of the
as Vega Wang (Fashion Designer, Vega Zaishi WAN,
1990s generation. EXCEPTION de MIXMIND, her arthouse
Beijing) explains when asked about her five-year plan:
label, uses sustainable fabrics and materials that are
‘For next five years, my only ambition is to be stable. I will
intricately crafted by artisans.8 Established in 1996, it
try to develop a strong brand, and to show my personality
became one of the most successful designer brands in
in my shows and collections.’ For Frain Wang (Fashion
China. With 58 shops in the major Chinese cities,
Designer, Beijing), this question about brand development
EXCEPTION aims to ‘create and transmit the art of
can’t be answered: ‘I am not so sure about my future
contemporary living based on an oriental philosophy, and
design; both artistic and commercial lines can be sold
9
to carry forward the Chinese culture.’ Ma Ke’s other
easily.’ International exposure has come to Frain after
independent brand, WU YONG (“useless”), created in
winning a competition organized by the Arts of Fashion
2006, explores the field of contemporary art.
Foundation in San Francisco.13
She presented the label during 2007 Paris Fashion Week,
and the following year staged ‘Fashion in Motion: Ma Ke
52
Uma WANG 王汁
Augustus Meng (Design Director / Fashion Designer,
JWAS design group, Beijing) combines commercial and
critical attitudes in the development of his brand, to define
a Chinese style: ‘I don’t care if my name is on it, but I want
my brand to known, in five years time, by a lot of people
with good taste. I also hope that most items will be priced
at 1,000 RMB, but look like 5,000 RMB pieces. Everything
should be done step by step. We need Chinese brands to
go out of the country, let them be influenced.’ Zhang Chi
Notes
1
Montgomery, Lucy. China’s Creative Industries. Edward Elgar
Publishing Limited [ Cheltenham, 2010]
2
Jenny Ji’s Wedded Bliss | http://shanghai.talkmagazines.cn/
issue/2010-03/jenny-ji%E2%80%99s-wedded-bliss
3
www.shang-xia.com/
4
‘Fashion Without Limits: Zhang Da’s “Boundless” Collection at UCCA’
| www.thebeijinger.com/blog/2010/08/17/Fashion-Without-LimitsZhang-Das-Boundless-Collection-at-UCCA
5
www.vitamincreativespace.com
6
http://site.douban.com/zuczug
7
www.vancl.com
8
www.mixmind.com.cn
9
‘Fashion in Motion: Ma Ke Wuyong’’ |
www.vam.ac.uk/content/articles/f/fashion-in-motion-ma-ke-wuyong
10
‘Sustainable Fashion: Exception de Mixmind by Ma Ke’ |
www.vivianeastwood.wordpress.com/2010/02/27/sustainable-fashion-exception-de-mixmind-by-ma-ke
11
‘Mao to Now: Chinese Fashion from 1949 to the Present’ |
http://goldstein.design.umn.edu/exhibitions/upcoming/MaotoNow.
html
12
‘Beyond Fashion’ |
www.beyondartspace.com/en/exhibitSpace.asp?exhibitID=31
13
‘FENGCHEN WANG Beijing Institute of Fashion Technology -2010
Aof Winner masterclass | www.arts-of-fashion.org/AoFCompetition/2010/pages/candidates/FENGCHENWANG.html
(Fashion Designer, CHI ZHANG [‘ARRTCO by CHI
ZHANG’], Beijing) expressed a similar attitude, but without
the willingness to be nameless: ‘I want my brand to
become an international brand. Currently more and more
people like my way of presenting. I want my fashion to be
a culture.’
Xander Zhou (Chief Fashion Designer, XANDER ZHOU,
Beijing) is in a unique situation. His label is self-sufficient
and he is ‘not really in a rush about a new collection.’
His thinking seems to be embedded in an international
mind-set about the role of fashion designers as creative
practitioners that can be hired by others. ‘I need time to
improve. I am not in a hurry to open my shop because I
am not good at the commercial side of business. I want to
work with a big brand with a huge market! Maybe we can
cooperate; that is what I want.’
53
ZHANG Chi 张弛
Augustus MENG 孟祥千
Uma WANG 王汁
Trending Topics
Luxury, Adaptation and Exposure
Luxury
brands such as Ermenegildo Zegna, Gieves & Hawkes,
China is predicted to become the world’s biggest luxury
Cerruti 1881, Dunhill and Hugo Boss.’3 It also confirms
market, with sales of $14.6 billion in the next five years.
that men’s love for opulent purses is good for business,
According to the World Luxury Association there are three
showing that ‘one has taste and is stylish’, and is in a
factors driving “Made in China” toward luxury: ‘1) rising
mode to display rising affluence. As such it is clear that
wages; 2) flourishing high-end factory sector; and 3) more
China is moving towards a society where status, and the
homegrown brands confident and proud of craftsmanship.’
display of it, is important. According to Kunal Sinha,
In the article ‘Can “Made in China” Be Luxury and Chic?’
Regional Cultural Insights Director at Ogilvy & Mather Asia
the stigma of locally made luxury products is explained:
Pacific-Shanghai, ‘the male Chinese market is huge. . . .
‘China produces more luxury goods than acknowledged,
The key driver here is not only that they want to look good
as many luxury brands are reluctant to disclose their
and have the money to splurge but it’s also to express
product sourcing and manufacturing due to the stigma still
their masculinity.’4 This evolution is not limited to the big
attached to the “Made in China” label. The World Luxury
cities; in fact, male-oriented luxury brands are usually the
Association estimated that 60% of all luxury goods were
first to move into less developed Chinese cities: ‘After
1
saturating the likes of Beijing and Shanghai, high-end
made in China in 2009.’
retailers are moving to the hinterlands, where many have
In 2011, a consulting report entitled ‘Luxury Apparel
grown rich off mining and property booms. Hermès
Market in China’ made a shrewd concluding statement:
opened an outlet last year in the frosty northeast city of
‘China is a market that deserves long-term commitment.
Harbin. A Louis Vuitton store is doing brisk business in the
We believe it is a promising land for luxury apparel
coal town of Taiyuan.’5
retailers in the world.’ It then outlines the distinctive
features of the luxury apparel sector: ‘China’s luxury
Although foreign luxury brands still reign in the mainland
market is predominately male-driven; consumers are in
market, there are indications of change as homegrown
general not so sophisticated; luxuries without hefty price
Chinese brands gradually start impacting the domestic
tags win strong appeal among the aspirational Chinese
market. One important approach of international luxury
consumers; gift-giving culture promises huge business
brands is the localization of products: ‘Many luxury brands
opportunities; regional differences in consumer mentality
have already begun to treat China the same as the
play a role in shaping China’s luxury market; and . . .
American, European or Japanese markets, introducing
2
mainlanders shop overseas for luxury items.’
high-end goods . . . for the local culture and . . .
contracting local designers for collections.6
As revealed above, there is a gender-related characteristic
of the luxury market evidenced by the high number of
Another trend is the popularity of so-called second-hand
retail sales locations for male-oriented luxury brands,
luxury markets. The Northern city of Shenyang is a
relative to female-oriented brands. This topic was also
trendsetter in this area: ‘The rapid development of
recently illustrated in the article ‘In China, Alpha Males
Shenyang’s second-hand luxury market may boil down to
Carry Designer Purses’ which stated that ‘men represent
the fact that some of the top luxury brands and most
45% of the $1.2-billion market for all luxury handbags in
popular handbags are extremely hard to come by here,
China’ and that ‘80% of wealthy male Chinese consumers
with people there often having to sign up on long wait-lists
are aged between 18 and 44 years, giving a likely boost to
for Hermès bags in other cities.’7 Though lucrative, this
57
new market has its drawbacks: ‘Brands like Louis
In November 2010, Beyond Art Space in Beijing
Vuitton, Gucci, and Prada are widely counterfeited in
introduced ‘Beyond Fashion’ to present commissioned
China, and some of these fakes are of such good quality
fashion pieces to fine art.12 The exhibition paired eight
it’s difficult to detect.’8
young contemporary artists with eight Chinese fashion
designers to display the crossover of fashion inspiration
Showing an increased awareness in what the luxury
from art.
market can entail, schools such as Beijing’s Tsinghua
University, one of China’s top universities, provided a
Shanghai’s Museum of Contemporary Art (MOCA)
2010/11 Advanced Management Program in Fashion &
opened ‘Culture Chanel’ in January 2011, exploring
Luxury course ‘to promote international exchange in
Chanel’s connection with artists such as Jean Cocteau,
fashion, luxury and other relevant industries and to
Pablo Picasso and Igor Stravinsky, up to the Karl
Lagerfeld era.13 One year earlier, Chanel had presented its
accelerate the training of leaders and advanced
9
managerial talents in China’s fashion and luxury industry.’
‘Paris-Shanghai’ exhibit in Shanghai’s high-end shopping
The course is a collaboration between the School of
mall Plaza 66.14
Economics and Management of Tsinghua University, the
Institut Français de la Mode and HEC Paris.
In January 2011, Hermès held the exhibition
‘Contemporary Craft Masters’ at the Today Art Museum
Men’s Wear
in Beijing, also the location of the French luxury brand’s
‘Tale of Silk’ show in 2008.15
Sales of men’s wear soar on the back of China’s huge
population, fast economic development, and rising
Beijing’s Pace Gallery opened ‘Diane von Furstenberg:
personal incomes. A recent report by Frost & Sullivan, a
Journey of a Dress’ in May 2011.16 This retrospective
US consulting firm, states that the development of China’s
tracing the history of the wrap dress featured portraits of
garment manufacturing industry is already quite mature
Diane von Furstenberg by some of the most celebrated
but is still maintaining a high growth rate.10 In 2008, the
artists of the past four decades.
market value of the men’s garment sector in China
amounted to approximately 260 billion yuan ($40.87
One month later, the Louis Vuitton ‘Voyages’ exhibition
billion); in 2010 this figure jumped to 348 billion yuan, and
opened at the capital National Museum of China, tracing
it is expected to maintain a 16.9% annual growth rate. The
the history of the LV brand over the last 155 years, with
report also points out that the market value might exceed
hundreds of trunks, photos and other artifacts from the LV
700 billion yuan in 2015. Furthermore, it states that in
archive.17 Louis Vuitton was one for the first luxury brands
2010 the Chinese women’s apparel and accessories
to enter China, opening its first store in the Peninsula
market amounted to approximately 425.2 billion yuan,
Hotel in 1982. The brand now has 36 stores across the
having grown 18.3% between 2005 and 2010, and may
country.
expand to 847.5 billion yuan by 2014. The report estimates
that in 2014, the market will have grown to approximately
In December 2011, the ‘A PLUS’ exhibition opened in
4.6 times its size in 2005.
Beijing’s Lane Crawford Seasons Place.18 Curated by
Shaway Yeh, Modern Weekly’s lifestyle editorial director,
Foreign Fashion Exhibitions in China
With the growing interest in fashion, the number of highprofile exhibitions on foreign fashion designers has also
grown, especially in Beijing and Shanghai.
In November 2008, ‘Christian Dior and Chinese Artists’
opened in the Center for Contemporary Art in Beijing.11
In addition to sumptuous and flamboyant pieces by John
Galliano for Dior, and original Christian Dior creations, the
show featured specially commissioned works by top
Chinese artists, including ceramicist Liu Jianhua, graffiti
artist Zhang Dali and architectural artist Lu Hao, whose
brief was to express artistically what Dior stands for.
58
the show brought together Chinese fashion designers and
leading artists from around the world.
Xander ZHOU 周祥宇
Notes
1
‘Can “Made in China” Be Luxury and Chic?’ | www.red-luxury.com/
2010/10/20/can-made-in-china-be-luxury-and-chic
10
2
‘Luxury apparel market in China’ |
www.idsgroup.com/profile/pdf/industry_series/ISissue12.pdf
11
3
‘In China, alpha males carry designer purses’ | www.latimes.com/
business/la-fi-china-man-purse-20110207,0,5536207,full.story
12
4
‘A Chinese Demographic Not To Neglect: Trendy, Big-Spending Men’
| www.jingdaily.com/a-chinese-demographic­- not-to-neglect-trendybig-­spending-men-jing-archives/6695
5
6
7
‘In China, alpha males carry designer purses’ | www.latimes.com/
business/la-fi-china-man-purse-20110207,0,5536207,full.story
‘Luxury Giants “Burning Bridges” With Chinese Partners’ |
www.jingdaily.com/luxury-giants-burning-bridges-with-chinesepartners/4712
‘Second-Tier Spotlight: Shenyang Mad For Second-Hand Luxury’ |
www.jingdaily.com/second-tier-spotlight-shenyang-mad-for-secondhand-luxury/8721
8
‘Second-Hand Luxury Market On The Rise In China’ | www.jingdaily.
com/second-hand-luxury-market-on-the-rise-in-china/4102
9
‘Advanced Management Program in Fashion & Luxury’ |
cms.sem.tsinghua.edu.cn/semcms/ALLPROGRAMS/37968.
htm?tempContent=full
‘Menswear: A suitable business’ |
www.chinadaily.com.cn/cndy/2011-11/29/content_14178069.htm
‘Christian Dior and Chinese Artists’ |
www.wallpaper.com/fashion/christian-dior-and-chinese-artists/2826
13
‘Fashion And Art Collide At “Beyond Fashion” Gallery Show In Beijing‘
| www.jingdaily.com/fashion-and-art-collide-at-beyond-fashiongallery-show-in-beijing/6317
‘MOCA Past Exhibitions: CULTURE CHANEL’ |
www.mocashanghai.org/index.php?_function=exhibition&_subFuncti
on=pastExhibition&exhibition_id=53&_view=detail
14
‘Chanel: PARIS-SHANGHAI’ |
chanel-news.chanel.com/en/tag/paris-shanghai
15
‘Hermès “Contemporary Craft Masters” Show, Today Art Museum
(Beijing)’ | www.jingdaily.com/hermes-contemporary-craft-mastersshow-today-art-museum-beijing/6951
16
17
‘Fashion - Journey East’ | www.vmagazine.com/2011/06/journey-east
‘Event Watch: Louis Vuitton “Voyages” Exhibition At National
Museum Of China’ | www.jingdaily.com/en/luxury/event-watch-louisvuitton-voyages-exhibition
18
‘A PLUS’ Lane Crawford Beijing |
www.lanecrawford.com/landing/featureArticle.jsp?article=6700002
59
SHANG XIA 上下
Conclusion
Summarizing the Fashion in China Mapping Report
As an industry that is poised to change on so many levels
their critical and artistic outlook, combined with a market-
in the coming years, it is difficult to present an all-
savvy approach. Another strategy could be to actively
encompassing image of the Chinese fashion field. It is
search for opportunities to capitalize on the trend to
important for foreign designers, media and institutions to
showcase and exhibit foreign fashion through fashion
enter the field at the right level, preferably with knowledge
weeks and other media.
of Chinese fashion designers and their cultural back­
grounds. This report has provided an overview of Chinese
Interviews with Chinese fashion professionals and related
practitioners – many of whom may already be familiar to
research have generated insight into the shifting agenda
Dutch designers, institutes and publications – and has
of fashion in China on three levels: places, production and
delved into their thinking, working processes and
professional development.
collections. It has focussed on large-scale apparel
enterprises, manufacturers and retailers. With their high
In regard to geographical locations, Beijing and Shanghai
volume of production, visibility, and large market share,
are competing to be recognized as China’s fashion capital.
they are taking their first steps into the international
As host to major media companies and a diverse
market. By investigating a broad range of protagonists that
population of designers, Beijing is at the forefront of
make commercial collections with export potential, and
innovation in fashion design. In the South of China there
haute couture and prêt-à-porter collections for a targeted
are few avant-garde designers (with exception of Ma Ke,
audience (buyers, media, fashion week visitors), this
Ricostru, Tangy and Liu Yang), but with Shenzhen
document presents both cultural and commercial entry
intensely promoting its image as a creative city, this group
points.
could grow in both in size and importance in the near
future. At the same time large fashion and textile hubs,
Collaboration in the Chinese fashion field is still a new
such as Songjiang (near Shanghai) and Keqiao (about
concept. Designers interviewed for this report seldom had
230km South of Shanghai), are emerging. This
clear ideas about how to establish meaningful interactions.
concentration will influence new types of research and
Nor did they come up with propositions for exchange.
development in the fashion industry and forge relation­
It appears to be less common for fashion professionals to
ships between academia and apparel. In past years,
undertake creative international collaborations, than it is
large-scale apparel companies such as JNBY, Meters­
for those working in the fields of design or architecture.
Bonwe, Youngor Group, Bosideng or e-commerce new­
With creative networks in China closely intertwined, it
comer VANCL have affirmed their positions on the Chinese
would be constructive to think about new cross-
market and are now beginning to challenge their foreign
disciplinary formats.
competitors at home. Leading Chinese clothing retailer
Bosideng, for instance, will launch its premium men’s wear
China’s younger generation is involved with repositioning
flagship store in London, in the summer of 2012.
Chinese fashion in society, with an eye to both domestic
and international trends. Concurrently, they face a unique
On the level of production, a new generation of designers
set of challenges. Exchanges with the Netherlands could
is facing the challenge of working on a bigger scale.
establish a shared platform with potential benefits for both
Due to manufacturing restrictions, or personal choices to
cultures. On the other hand, Dutch fashion designers can
work with hard-to-obtain fabrics, their output is selective
also interact with China’s older generation on the basis of
and find its way to either selective department stores or
61
LIANG Zi 梁子
concept stores. As shown, these small-designers are
scale businesses, as Professor Liu Xiaogang (Deputy
hardly competition for the large-scale apparel companies
Dean, Fashion Institute of Donghua University, Shanghai)
in terms of production and distribution. They compete in
notes, are the medium-sized companies: ‘They pay more
terms of quality and creativity of design and target a
attention to the production of their apparel than larger
selected audience of upscale urbanites, media and
companies, and account for a large portion of the industry
fashion week visitors. In between the small and the large-
in China.’
62
On the third level of professional development we see the
Media Strategy
rise of independent labels, designers that mix working for
A wide variety of specialized media are equipped to
department stores and designing their own collections,
communicate and publicize the knowledge and collections
and an influx of fresh graduates from European fashion
of Dutch fashion designers in China. By devising a
schools. Foreign brands that aspire to enter the Chinese
strategy to tap into these resources, taking into account
market can do so by operating retail stores (franchised or
the pros and cons mentioned in this report, Dutch
self-owned), marketing to retailers through local licensing
designers can profit from these media. A young
or distributors, pairing with Chinese designers or
generation of editors, a keen interest in international
networking with institutional customers. The fashion group
trends, and the rise of fashion bloggers and social media
I.T, for example, has presented some of the world’s most
platforms are opportunities for fast and prolific public
interesting designers to China via its four retail groups.
relations. As little research exists on Chinese fashion
Other point of entry are contacting and establishing
design, despite wide coverage in popular media, it is
relations through the relevant fashion organizations as
important to follow suggested websites, blogs and printed
listed in Chapter 7. Others, such as the Brand New China
publications.
(BNC) store in Beijing bring together independent
designers in one space, while the China Fashion
Presence
Collective presents itself as an agency for Chinese
Due to limited public activities domestically, it is crucial for
fashion designers with the ambition for international
Dutch designers to participate in fashion weeks in Beijing
recognition and distribution.
and/or Shanghai. There is a market in cities such as
Beijing and Shanghai for foreign designers, and sino-
Closing Thoughts
foreign enterprises, that focus on streetwear, eco-design
During the research and writing of this report, the
Location in specific districts or creative clusters in Beijing
following set of ambitions and actions have become
or Shanghai is key. Large fashion labels are advised to
prominent:
work on strategies to tap into consumer markets in
and craftsmanship in a sustainable and local manner.
second- and third-tier cities, where there is less
Seek out Independent Chinese Designers
competition and a younger industry. Also, large fashion
Today, three generations of independent fashion
labels should connect with local or international retailers
designers are poised to change – or already have
on the Chinese market. It is also important for them to
changed – the image and production of fashion in China.
familiarize themselves with major fashion hubs such as
These designers might be available for dialogues and
Songjiang (Fashion Silicon Valley) or Keqiao (China
exchange programmes that focus on simple products and
Textile City).
the social relevance of their profession. As such, they can
together seek out connections with international trends,
Finding a Balance
debates and collections that are at the forefront of the
Overall, the current reform in fashion education is in tune
global profession.
with the development of the fashion market in China, and
as such, closer attention in education is being paid to the
Depth Instead of Surface
establishment, growth and management of small- and
There is a growing interest amongst international fashion
medium-sized companies. Illustrative of this condition is
designers to bring Chinese elements into their new
the trend to find a better balance between quantity and
collections. As shown, many of these foreign designers
quality of production. This is where the experience and
prefer to do this quite explicitly, with the idea it can
knowledge of Dutch fashion designers operating
generate profit, goodwill and direct understanding
successfully on similar scale, could be of value for
amongst a growing class of Chinese consumers. It is
educational, cultural and commercial purposes.
expected that this trend will continue. It might be more
In addition, Dutch fashion designers could learn from the
interesting, however,,to focus on dialogues about the
more independent and avant-garde generation of
differences between Dutch and Chinese designers in
domestic designers to establish win-win cooperation with
terms of creativity, culture and production. As there is a
big brands in China.
growing market for luxury products, it would be smart to
concentrate on distinct products that demonstrate
MovingCities
craftsmanship, tradition, culture and innovative
Shanghai DEC2011 – JUNE 2012
approaches.
63
ZHANG Da 张达
Vega WANG 王在实
ZHANG Chi 张弛
Appendix
Contact Details & Bios
Aric CHEN 陈伯康 [CHEN BoKang]
Creative Director / Writer / Curator
2011 Beijing Design Week
BEIJING / New York
email [email protected]
website www.bjdw.org
Based in Beijing and New York, Aric Chen is an independent
writer and curator specializing in design, architecture and art. In
2008 and 2009, was founding co-creative director of 100%
Design Shanghai, and in 2011 Creative Director of Beijing
Design Week.
Nels FRYE 费志远 [FeiZhiYuan]
Creative Director, Writer
Beijing STYLITES
/ Editor-in-Chief
LifeStyle (China) magazine
BEIJING -- Text Contribution_ Stylites and Fashion in China -email [email protected]
website www.stylites.net
www.weibo.com/stylites
www.lifestylecn.com
Nels Frye runs the popular pictorial blog stylites.net documenting style and pop culture in Beijing and China today.
He is creative director at Senli and Frye tailors, in Beijing, since
2007. He is Editor-in-Chief of LifeStyle (China) magazine, a
bilingual monthly publication focussing on architecture and
interior, décor, luxury goods and travel - distributed in China’s
upscale leisure venues and 5-star hotels.
Maple JIANG 江枫 [JIANG Feng]
Fashion Director
VISION magazine
BEIJING -- Text Contribution_ Fashion in China: on the road to
development -email [email protected]
website www.youthvision.cn
www.weibo.com/maplejiang
Maple Jiang is Fashion Director of VISION magazine since 2005.
She holds a master in Fashion Design & Communication from
Surrey Institute of Art & Design, UK (2002-03) and a bachelor in
Fashion Design from Beijing Institute of Clothing (1997-01).
VISION, with a monthly circulation of about 286,000, is an art
and fashion magazine exerting great influence on the new talents
in fashion, art and design.
HONG Huang 洪晃
Owner / Chief Executive - Publisher iLook magazine
BRAND NEW CHINA (BNC)
BEIJING
email [email protected]
website www.ilook.com.cn
www.beijingtoday.com.cn/tag/bnc
Hong Huang (1961, Beijing) is the chief executive of China
Interactive Media Group and publisher of iLook Magazine
(founded in 1998). She is a famous Chinese publisher and
blogger and since 2010 the owner of Brand New China (BNC) in
Beijing. BNC is a leading boutique for indie designer items that
promotes China’s original design.
Jenny JI 吉承 [JI Cheng]
Founder / Fashion Designer
LA VIE Design Studio [‘La Vie’ & ‘The Wedding’]
SHANGHAI -- 110519 interview SHANGHAI -email jenny_ [email protected]
website www.lavie.koocaa.com
www.lavie.com.cn
Jenny Ji (Shanghai) graduated in fashion design at the
Marangoni school in Milan and worked at Basic Krizia, Missoni
Sport and D’A as a designer and visual director. In 2002, she
founded La vie by Ji Cheng. Her stores in Shanghai include the
flagship store in Tianzifang and luxury landmark in Bund18.
Besides her ready-to-wear business, La Vie set up shop in LOFT
Shanghai providing tailoring services and ‘the Wedding’collection.
JIANG Qiong Er 蒋琼尔
Artist & Designer / Artistic Director & CEO
SHANG XIA [Hermès CHINA]
SHANGHAI -- 110420 interview SHANGHAI -email [email protected] [PR Manager: Angela HUA]
website www.shang-xia.com
Having gained her degree in Art and Design at Tongji University,
Jiang Qiong Er, studied furniture and interior design at the
Decorative Arts School in Paris. She is the artistic director and
CEO of Shang Xia – the Chinese luxury brand she established
after collaborating with Hèrmes. SHANG XIA is a 21st century
brand combining the best of traditional Chinese and other Asian
craftsmanship and design.
67
LIANG Zi 梁子 [& HUANG ZhiHua 黄志华]
Design Director
TANGY / Shenzhen LIANGZI Fashion Industrial Co. Ltd.
[& General Manager / Partner]
SHENZHEN -- 110316 interview SHENZHEN -email [email protected]
website www.tangy.com.cn
www.tangysilk.com
Liang Zi, founder and art director of Tangy, graduated in 1990
from Northwest Textile College and in 1994 founded Shenzhen
Liangzi Co ltd and Tangy label. Tangy, with over 180 stores in
China, is known for the use of environmentally friendly fabric,
especially Tangy Gambiered silk. In 1999 she studied in Paris
and two years later at State University of NY Fashion Institute of
Technology.
LIU XiaoGang 刘晓刚
Deputy Dean of Fashion Institute / Professor / Ph.D Supervisor
FASHION INSTITUTE of Donghua University
SHANGHAI – Text Contribution_ Art Design Education & Market
Development In China -website www.dhu.edu.cn
http://202.120.157.100
Liu Xiaogang, Ph.D (1960), is Professor of Art and Design
Specialty, and Vice Dean of Fashion Institute of Donghua
University. He obtained his MA in Fashion Design at China
Textile University in 1992, and in 2004 was awarded Doctoral
Degree at Donghua University. He is Deputy Director of China
Fashion Design and Technology Academy Committee, Syndic of
China Fashion Designers’ Association; he also works in brand
consulting for many fashion enterprises.
LIU Yang 刘洋
Fashion Designer / Design Director
Guangdong LIU YANG Art & Production Co. Ltd.
GUANGZHOU -- 110314 interview GUANGZHOU -email [email protected]
website www.liuyang.com.cn
Chinese-American fashion designer Liu Yang (1964) is the
design director of Guangdong Liu Yang Art Creative Enterprise
Development Limited. In 1998 he was the recipient of the early
fashion award Jin Ding Prize. He is vice-president of China
Fashion Design Association, executive director of Asia Fashion
Federation, and the president of Guangdong Fashion Designers
Association, also executive member of the America-China
Fashion Association.
MA Ke 马可
Fashion Designer / Design Director
‘EXCEPTION de MIXMIND’ / ‘Wuyong’
GUANGZHOU
email [email protected]
website www.mixmind.com.cn
Ma Ke (1971) graduated from the Suzhou Institute of Silk Textile
Technology in 1992, and studied women’s wear at Central Saint
Martins. She has two clothing labels: ready-to-wear EXCEPTION
de Mixmind and haute couture Wuyong. In 2005 Ma Ke received
the Best Fashion Designer of the New Generation Award at the
Shanghai International Fashion Culture Festival, in 2008 the
Prince Claus Award, The Netherlands.
68
Augustus MENG 孟祥千 [MENG XiangQian]
Design Director / Fashion Designer
JWAS design group [‘masstelà’]
BEIJING -- 110303 interview BEIJING -email [email protected]
website www.jwas-design.com
Meng XiangQian, (1984, Harbin) studied at Raffles Design
Institute in Beijing (2007) and at Marangoni in Milan, obtaining a
Fashion Design master degree in 2009. In 2010 he was
nominated China’s Top 10 designer in CCTV6’s show Creative
Sky. One year later Meng founded JWAS Group Limited where
he is design director, and recently opened his first ready-to-wear
store ‘masstelà’ in SanLiTun, Beijing.
QIU Hao 邱昊
Fashion Designer
QIUHAO [‘ONE BY ONE/lab’, ‘Neither Nor’]
SHANGHAI -- 110520 interview SHANGHAI -email [email protected]
website www.qiuhaoqiuhao.com
www.weibo.com/qiuhaoqiuhao
Qiu Hao (1978, Taicang) graduated from Suzhou University in
Interior Design. In 2001 launched his first ready-to-wear line
Neither Nor. In Shanghai in 2003, Qiu co-founded ‘ONE BY
ONE’- a designer’s boutique. Qiu studied for an MA in Fashion
Women’s wear at Central Saint Martins in London (2004) and
upon return established his own label QIUHAO (2006). In 2008
he won the prestigious Woolmark Prize and in 2010 was named
by Forbes as one of the top 25 most important people in Chinese
fashion.
Frain WANG 王逢陈 [WANG FengChen]
Fashion Designer / Consultant / Stylist
BEIJING -- 110304 interview BEIJING -email [email protected]
website http://blog.sina.com.cn/fengchenfashion
Frain Wang (1986, Fujian) is a fashion designer, consultant and
stylist. She holds a BA in Fashion Design by Beijing Institute of
Fashion Technology (2006-08) and was a scholarship winner of
Arts of Fashion masterclass Series 2010, in San Francisco, and
2011 AoF Paris Summer masterclass. Between 2010-11 she was
designer for women’s wear at ASOBIO, Shanghai.
Uma WANG 王汁 [WANG Zhi]
Fashion Designer
UMA WANG
SHANGHAI -- 110520 interview SHANGHAI -email [email protected]
website www.umawang.com
Uma Wang (1973, Hebei) graduated from China Textile
University (1996) and London’s Central Saint Martins (2003).
She launched her ready-to-wear label at PURE London (2005).
With over 10 years experience designing for Chinese brands,
she developed her signature knitting techniques and received
critical acclaim for her high-quality products and collections
shown in Shanghai, London, Paris, and Milan. Uma Wang
Flagship Store opened in 2010 at Xintiandi Style in Shanghai and
in 2012 she received AUDI Progressive Designer Award.
Vega WANG 王在实 [WANG ZaiShi]
Fashion Designer
Vega Zaishi WANG [‘SFORZANDO’]
BEIJING -- 110304 interview BEIJING -email [email protected]
website www.vegawang.com
www.vegawang.blogbus.com
Vega Wang (b. 1985, Liaoning) studied at London College of
Fashion in 2005, and got her BA Fashion Design Women’s wear
from Central Saint Martins in 2008. She worked for Vivienne
Westwood and Alexander McQueen. Returning to China, Vega
created own brand SFORZANDO by VEGA ZAISHI WANG and a
showroom in Jianwai SoHo in 2010, in Beijing.
WANG YiYang 王一扬
Fashion Designer
‘ZUCZUG’ / ‘chagang’
SHANGHAI -- 110520 interview SHANGHAI -email [email protected]
website www.zuczug.com
www.chagang.cn
Wang Yiyang (b. 1970, Shanghai) received his BA in fashion
design in 1992 and taught at China Textile (Donghua) University.
Chief designer for Chen Yifei’s new brand, Layefe, 1997-2001, he
launched his own labels: with friends in 2002, conceptual lady’s
wear ZUCZUG (shop opened on West Fuxing Road, retailing
nationally and distributed internationally); and in 2004
independent design series chagang (‘mug’ or ‘tea-pot’).
Xander ZHOU 周祥宇 [ZHOU XiangYu]
Chief Fashion Designer
XANDER ZHOU [‘MADE ON ANOTHER PLANET’]
BEIJING -- 110302 interview BEIJING -email [email protected]
website www.xanderzhou.com
http://t.sina.com.cn/xanderzhou
Xander Zhou (b. 1982) graduated from The Hague’s Royal
Academy of Art on industrial design, and Dutch at the Vrije
Universiteit (Amsterdam). In 2005, Zhou was hired by Dutch
fashion designer Jeroen van Tuyl. Upon returning to China, he
founded his own studio in Beijing in 2007 and created the Xander
Zhou brand. He was voted designer of the year 2008 by Esquire
China and as one the world’s 18 most promising upcoming
designers of 2008 by Dazed & Confused.
ZHANG Chi 张弛 [Chi ZHANG]
Fashion Designer / Chairman
CHI ZHANG [‘ARRTCO by CHI ZHANG’]
BEIJING -- 110303 interview BEIJING -email [email protected]
website www.zhang-chi.com
website www.arrtco.com
Zhang Chi (b. Beijing) studied college in the UK, and holds a
master in fashion at Marangoni, Milan. Returning to England he
launched his label Chi Zhang, and by 2008 opened his Beijing
studio, focussing on men’s wear design. Widely published and
awarded, Zhang has dressed many celebrities; while
collaborating with ARRTCO (middle & high-end market retail) he
created ARRTCO BY CHI ZHANG an avant-garde designer
label.
ZHANG Da 张达
Fashion Designer
PARALEL Design Studio [‘BOUNDLESS’] / [‘SHANG XIA’]
SHANGHAI / BEIJING -- 110429 interview SHANGHAI -email [email protected]
website www.parallelwalk.com
Zhang Da studied at Xi’an Polytechnic (1986-90) and at Royal
Academy of Fine Art Antwerp (1995-97). In 1997 he won the
Italian MITTEL MODA young designer award and interned at
Rome’s SARLI couture house (1998); and Shanghai YiFei Group
(1999-02). In 2005 he set-up his PARALEL studio and
experimental women’s wear label BOUNDLESS. He exhibited at
the V&A Museum ‘China Design Now’ (2008), collaborated with
Beijing’s Vitamin Creative Space and UCCA on a project called
Hidden.Fashion. Recently he was invited to create a clothing line
for Shang Xia.
69
SHANG XIA 上下
QIU Hao 邱昊
Colophon
Acknowledgments
Content
MovingCities wishes to thank the following people for their
MovingCities, Shanghai, China:
support, assistance, critique and sharing of knowledge in
Bert de Muynck & Mónica Carriço
creating this report: Vivian YU Tianzheng 于天正, Yvonne
WANG Yi 王祎, HU Bingyu 胡瓜, JIA Huishu, Remy CHEN
Editorial Supervision & Coordination
陈知 明 & Jane LIN 林建英; Christine de Baan, Marie-Anne
Carolien van Tilburg
Souloumiac, Elyne van Rijn, Carolien van Tilburg, Machtelt
Schelling, Inge Wesseling, Vanessa E. de Groot, Teun Hompe.
Editing
Jennifer Sigler
Jenny JI 吉承, JIANG Qiong Er 蒋琼尔, LIANG Zi 梁子 & HUANG
ZhiHua 黄志华, LIU Yang 马可 & Dragon LIU 劉晨坤, Augustus
Graphic Design
MENG 孟祥千, QIU Hao 邱昊, Frain WANG 王逢陈, Uma WANG
Cover: Thonik, Amsterdam
王汁, Vega WANG 王在实, WANG YiYang 王一扬, ZHANG Chi
inside: CO3, Amsterdam
张弛, ZHANG Da 张达, Xander ZHOU 周祥宇; Aric CHEN
陈伯康, Nels FRYE 费志远, Maple JIANG 江枫, and Professor
Commisioned by
LIU XiaoGang 刘晓刚.
Dutch Design Fashion Architecture
P.O.Box 21798
SHANGHAI . June 2012
3001 AT Rotterdam
+31-104136252
[email protected]
.org
www.dutchdfa.com
www.dutchprofiles.com
MOVINGCITIES
BERT DE MUYNCK & MÓNICA CARRIÇO
www.movingcities.org
[email protected]
FASHION IN CHINA MAPPING
This report, commissioned by Dutch Design Fashion Architecture, presents an analysis
of the fashion design field in China. Researched and written in 2011 by MovingCities,
and updated throughout 2012, it highlights the people and processes that will influence
future fashion design agendas in China and throughout the world. It is based on
13 interviews held in 2011 with acclaimed Chinese designers and scholars, as well
as on additional desk research.
dutch
design
fashion
architecture