Interview With Xing Jingyu, Director Of Brand Art Of Guangzhou Wiseman Clothing Sales Co., Ltd.

(Domi CHIN), graduated from the central craft Academy of Fine Arts in 1999. In the same year, he was awarded the "New Fashion Designer Award of China" by the China Fashion Designers Association.

He has successively studied Misaki Sato Noriko, a famous professor from Japan's Tokyo Institute of culture and clothing, and a master of women's craft craftwork. She studied Japanese women's wear industrial plate making, and went further to the ESMOD higher Fashion Design Institute of Paris. She studied the Paris high fashion and advanced garment making plate with Naomi, a famous French brand Christian Lacroix, and won the double degree of high fashion design (Styliste by nouvele Couture), high fashion and advanced garment making (Modeliste) in 2003.

In March 22, 2012,

In Guangzhou, a fashion show and autumn winter ordering meeting were held in the name of "sharp change".

This is also an international team of Wiseman, the first commodity conference since being stationed in Guangzhou in January 1, 2012. The new image, new positioning, new concept and new management of the Wiseman dress have changed the number of orders by several times over the same period last year.

Behind this beautiful pcript, apart from having the support of the international marketing team, there is also a soul soul who has contributed to it. It is Xing Jingyu, Domi CHIN.

Xing Jingyu, an explorer in the field of art and commerce, adheres to the practice of building products and art elements in brand marrow. He takes the Trinity concept of art, design and market, from Beijing to France, and from France to Wiseman, integrating the elegant qualities of French women into the brand's blood, and takes the advanced culture and design concept of the world in the brand positioning of Wiseman, focusing on the infinite enthusiasm for design and making it look new.

During his days in Paris, he visited famous teachers and studied the production of high fashion flowers with Mr. Sasaki, a famous Japanese flower producer. He studied and explored the story aesthetics of fashion design with Jean, a famous independent designer in Paris. This gave him a deeper understanding of Paris, and understood the attitude of the French towards art and the persistence of LUC.

During the years of studying and working, Xing Jingyu became more exposed to business.

Different from the brand management concept of the time, the operation of Paris brand pays more attention to the integration of art and commodity concept, and the diversified lifestyle of consumers, which makes the brand fashion industry of this city full of vitality.

He has been a famous fashion woman fashion brand MORGAN fashion in Paris.

Paris Pretty Collection Fashion Co., Ltd. freelance designer, FENGO brand chief designer.

In his work, Xing Jingyu has even more affirmed the commercial rule of brand fashion: goods are the first, and art is the hotbed of goods forever.

As long as you can do it, you will remain invincible.

No wonder the Jewish friends in France joked, "Domi, Tu EST PAS stylist (" don't you are not a designer)! "Talking about brands, everyone thought he was more like a businessman. He always looked at fashion from the perspective of businessmen and consumers, and looked at the design from an artist's point of view.

After understanding Xing Jingyu's experience, the writer interviewed the artistic design director with strong artistic temperament, precise commercial smell and the psychological trend of consumers.

From "business" to "art"

Q: you have studied abroad for many years, and have worked in many famous brands at home and abroad. How do you view the gap between designers at home and abroad?

Xing Jingyu: as a designer of "70 after", most of us have experienced the incubation and growth period of Chinese fashion brands.

There are basically two factors in the gap between designers at home and abroad.

First, market factors.

Domestic designers lack a relatively benign market environment. In the late 80s and early 90s of the last century, the brand of Chinese women's clothing was sprouting up. Consumers' demand for brands was nothing more than "good fabrics, new styles and comfortable clothes".

Business requirements for design are limited to this, and there is no need for perfect design planning, let alone merchandising and buyer planning.

After entering the 2000, the domestic brand has not yet been formed. The brand of many foreign fast buyers has entered the sight of Chinese brand merchants. They have begun to value commodities and buyers, and domestic designers are facing the embarrassing situation of fast copying.

As everyone knows, apart from the plagiarism of art integration, apart from limiting the designer's imagination and causing the homogenization of the brand, it has a great negative impact on the autonomy of the domestic brand. Therefore, the foreign design circles often criticize China for having only "copy master" but no designer.

For a long time, domestic designers have been caught up in a relatively passive and embarrassing situation. On the contrary, designers abroad attach great importance to the integration and coordination of the pre, middle and late stages of commodity planning. This kind of literacy not only makes the brand have artistic vitality, but also maximizes the market value of goods. After all, the recognition of goods by consumers is the greatest achievement of designers.

The second is education.

The design education in China mostly stays at the art level. There is no planning course, and the lack of brand case teaching, especially the understanding of terminal shops and consumers, is the weakness or even blind spot of domestic design education.

It is difficult for designers to distinguish the difference between "work" and "commodity" in the market.

In France, besides having nearly 170 years of history of dress education, it also possesses a healthy and mature brand, nurturing the environment and diversifying the consumer market.

After running in, the designer can find his own design track and get a relatively benign creative play.

In short, clothing is a commodity, which is inseparable from art, but not a work of art. Foreign designers are very clear about their positioning and know more about the brand consumers they serve.

This determines the designer's role and value for the brand.

The "new learning" of Chinese designers

Q: we can see that the "sharp change" conference in the 2012 autumn and winter shows "French refinement", which is totally different from the image of Wiseman in the past.

Where do you focus on re creating the image of Wiseman?

Xing Jingyu: brand must follow "story aesthetics".

Whether in terms of goods or vision, French brands are too good at telling stories.

For example, this season we are going to show a kind of skirt. We will imagine some rebellious elements in the princess's life, combined with some details of Vitoria Palace Dress, and bring it back to the real city. In the 20s and 40s of the last century, the style of the whole design stood on the shoulders of the culture, creating a magnificent and modern urban theme image.

On the commodity, combined with terminal color performance, color also needs story. We hope to perfect the story of color, so that a complete set of goods can directly show the theme of the story, which is not easy, but it can be realized.

Wiseman's show this season shows that the three themes of the show are displayed in a well developed VCR. The whole group of colors make the guests feel like they are so drunk.

If a brand wants to stand out among many competitors, the first thing to do is to tell stories.

Q: as far as I know, you are from the design director of the company to the art director now.

Design director is the most common position in China, whereas art director is not common, but internationally it is more popular with art director.

As art director, what is your strategy of positioning Wiseman's brand culture?

Xing Jingyu: in foreign countries, the art director is the person who really grasps the source of design, integrates design resources and confirms the trend of products.

This is a change and upgrading from quantity to quality.

At present, this position is not popular in China because it does not understand the role of such promotion in brand.

The international integration of Wiseman is not only external but also an inner core measure.

{page_break}

As an artistic director, first of all, it is responsible for the artistic implanting of brand culture. It is reflected in many aspects, such as the pre planning of merchandise design, the integration of style and image, and the overall image building of terminal VMD. In addition, there are many good new generation artists at home and abroad. Through cross-border cooperation, we can strive to create the artistic value and cultural connotations of brands through many ways, such as the integration and promotion of various fashion arts.

In addition, the future of Wiseman, no matter commodity or vision, will insist on emphasizing the "French refinement" brand positioning, so that more consumers can experience the romantic and modern French life.

Wiseman's brand culture will help Chinese women improve their quality of life and taste, make them more elegant and confident, so that they can not be realized in France but in China.

The new generation of MD is better integrated.

Q: Recently, I heard a word MD in some domestic enterprises, but I don't seem to understand the real meaning of MD. How do you understand this concept and put it into practice?

Xing Jingyu: in France, the original concept of MD is only commodity planning. It is suitable for the operation mode of European and American brands which are embodied in the brand culture.

Because European and American brands emphasize more on the value of brands and the added value of goods, compared to famous brands, there are dozens of shops and hundreds of shops. Moreover, most European and American brands have basically abolished the mode of joining in the late 80s of last century. The terminals are proprietary shops, shop sizes and distribution areas, almost all of which are unified models. MD as a commodity planner, the job is relatively simple.

But with the gradual saturation of the European market, the increasingly globalization of brand expansion, the need for more diversified brand development, and the increasingly fierce brand competition, more and more first-line designers and art directors have come to the stage from behind the scenes. From the early stage of design and merchandise planning to the integration of goods and art at the end, the two major steps to solve the regional differences and cultural differences of commodities are not only to satisfy the commodity attributes of the market, but also to emphasize the use of artistic visual means to complete the continuity of brand culture in different countries and regions, so as to maximize the profit of retail terminals.

With the trend of popularity of fashion, all kinds of commodities have different degrees of design concept of "mashup".

This poses new challenges for MD.

In addition to being more targeted, the band products are also liberated from the traditional concept of advanced garments. Different texture, different prices, high-end and low-end goods can be displayed and collided on the same stage.

This requires that the new generation of MD should have more profound artistic accomplishment and keen fashion sense to adapt to the new brand development trend in the future.

Under the influence of market diversification and globalization, the new generation of MD should be more capable of market segmentation and reorganization.

From low-end street shops to high-end shopping malls, from high price to low price, from A-class market to B market, how to make use of artistic vision to grasp the product structure of different regions and make them stand in the right place forever, we can say that the new generation of MD must have the vision and fashion sense of art director, and artistic directors should also have more and more MD's commodity combination ability.

This is my view on future art director.

Let the product speak for itself.

Q: we saw that there was a great change in the 2012 fall and winter of Wiseman's dress. How did you view this change? This change gave a new orientation to Wiseman. How did you understand and organize the design and development of the team?

Xing Jingyu: as a designer who knows how to respect the market, he must be humble and prudent in the market, and pay close attention to the changes of consumers and consumption environment.

Since its establishment in 1998, Wiseman has had 13 years of brand history and accumulation.

The new environment tells us that China is a rapidly changing market, and the diversified needs of life and consumption environment are maximized after 70, 80 or even after 90.

In addition to the support of numerous survey data, we should create a comfortable hotbed for the soul of the Wiseman brand.

Speaking of the Paris complex of Wiseman, what I want more is a kind of pmission to French life style. Besides the commodity property, clothing also becomes a medium between the brand and the consumer.

With this positioning thought, we emphasize the importance of the overall image of clothing in R & D design, and of course, this includes the overall establishment of VMD.

After years of baptism abroad, I know better how to respect the consumers, think about them from their perspective, really sympathize with their feelings and understand what the target customers really want. How can we provide them with these things before they think of them before they think of what they have always wanted? This is a topic that my team and I have been studying for a long time. Of course, this will also be the eternal theme of our future design and development and business market.

Q: 2012 autumn and winter orders will be well received and agents will be enthusiastic.

What kind of guidance do you think the show will play on the market?

Xing Jingyu: in fact, a conference can not determine the future development route of a brand, only a clear positioning can faithfully plate the spirit of the brand, and the positioning of the brand is also pointing out a direction.

With the implementation of the new policy and the enhancement of service awareness, the success of diversified and diversified image creation, the artistic atmosphere of the order fair, and the introduction of the latest generation of French modern images, the agents have seen the new hope of Wiseman.

From the point of view of reporters, the first result is the result of quantitative change to qualitative change.

Products from the color series, flower type extension, variety of styles, rich accessories and other equal changes, and then to qualitative change, from the product structure changes, such as the past version problem, goods matching problem, the problem of the richness of the north and south, and the reasonable upgrading of the goods area and so on, all these qualitative changes have greatly reversed the agent's perception of Wiseman, and let the agent see the result of the overall upgrading of the product after the sharp change.

Of course, the upgrading of products is only one aspect, and the entry of international management teams, let agents see what is international management, what is team building, what is the power of sharp change.

It is all time and place that makes it possible for the agent to see that in the future market, the time for the sustainable profitability of Wiseman is coming.

For agents, what is a good brand? In fact, it is very simple. It is a good brand that can make money. It is a brand worthy of cooperation and worth following.