The Importance Of Brand Culture To The Domestic Garment Industry

domestic

Everyone is shouting "branding", but the biggest confusion is not the problem of the domestic market, but the shaping and upgrading of the brand culture.

South Korea's uncle Psy's "Jiangnan style" is hot all over the world. In China, from Beijing to fashion stars, South Korea's horse dance has been sprang up. A primary school in the city has even adapted it into a class break exercise suitable for primary school students.

The second wave of Korean dance triggered by horse riding is threatening economic interests to the world. The Korean clothing brand intends to accelerate its entry into the Chinese market.

O 2nd entered China in 2009, and its price was 70% to 80% higher than that of Korea. Last year, its turnover in China reached 50 billion won.

The company plans to increase the number of Chinese shops from 52 to more than 70 by the end of this year.

E-LAND sales last year reached 1 trillion and 600 billion won in the Chinese market.

Since the beginning of this year, its acquisition of Italy brand has gradually entered other fields in China.

In the domestic market, "Korea" has also become a market symbol of the clothing industry. It is full of Taobao's numerous "Korean version", which is stimulating the nerves of Chinese clothing brands, attracting countless envy, jealousy and hatred.

What do we lack compared with Korea?

The answer is culture.

In the 90s of last century, South Korea, which was stranded in the financial crisis, proposed the "Milan plan".

The pformation and upgrading of garment industry will make Korea a "Oriental Milan".

After that, South Korea regarded the clothing industry as a strong support for cultural and creative industries.

A few years later, the policy of "cultural revitalization" in Korea has yielded fruitful results. Korean dramas, movies and songs have swept across China. Korean wave has become the pioneer of the Korean clothing brand entering China. After that, the Korean brand has gained a firm foothold in China.

South Korea's strategy of "singing the opera on the stage of culture" is the first strategy.

The industry is also facing difficulties in rising costs and sluggish markets. The industry is at the crossroads of pformation and upgrading. However, China's apparel industry is not able to ride fast, and it is destined to rely on its own strength to go through this difficult road.

Processing enterprises to brand, brand enterprises to enhance.

Processing enterprises lack DNA of brand operation, make brands encounter various difficulties, some brands can not wait to raise prices, but their input in design, channel and brand is not enough to support the terminal price.

Everyone in the domestic clothing industry is shouting "branding", but the biggest confusion is not the problem of the domestic market, but the shaping and upgrading of the brand culture.

This highlights the absence of fashion discourse rights in China's apparel industry.

Nowadays, China's clothing industry has been in full contact with international fashion in various fields.

In the market, domestic clothing brands and international brands compete with each other on the domestic market; at the industry level, the interaction between Chinese and foreign garment industry is increasing; at the enterprise level, there are both domestic brands and international brands in cooperation with others.

To serve in domestic garment enterprises.

Undoubtedly, this comprehensive contact has effectively promoted the development of China's garment industry, but it has also produced drawbacks.

"International brands have promoted the emergence of Chinese brands, but many domestic brands are plagiarizing foreign designs, because such clothing is easy to sell."

A fashion media personage said so.

Wuhan is an important area of clothing production in China. Intensive clothing enterprises once made the "Han style clothing" famous throughout the country. However, the short board of design and brand made it nearly ten years ago to stop.

Luo Xiaochun, executive director of Hubei clothing trade association, believes that although many OEM enterprises have realized that only brands have tomorrow, most small and medium-sized enterprises are still trapped in the vicious cycle of low-cost copying, lacking strategy and style, and simply relying on quantity to make a living.

An industry veteran

It is revealed that many clothing companies or brand companies do not even have real designers at all. The so-called designers are basically professional portraits.

A lot of plagiarism saves time, saves costs, keeps up with the trend, but also reduces the quality and makes the brand lose its sustainable development potential.

"At present, domestic brands really rely on their own R & D and self creativity to achieve their own height value and positioning," Xiong Zhaofei, Dean of the clothing Institute of Wuhan Textile University, said: "if China is to pform itself from a big garment nation to a strong garment country, we must pay attention to the creativity of clothing."

This requires a large number of original designers.

But now the fashion system is built in Europe and America.

Designer Wang often advises designers to go to Europe for further study. "You need to know their rules of the game."

"Understanding and familiarity with the mode of international business operation is very important," said designer Xie Feng. "China has excellent designers, but we do not have an international view and understand international rules. We need a higher vision."

However, if Chinese designers want to be internationally recognized, they can not put the stuff that others chew on to the table. The Chinese clothing industry must shake off the shadow of others from product development, fashion trend and brand connotation.

In the early 80s of last century, when Yamamoto Teruji and Wakubo Rei boarded the T platform in Paris, their works immediately attracted people's attention.

A European and American fashion personage said, "their works are so different that they subvert the concept of fashion, and are different from Western styles of fashion."

In the words of designer Ji Wenbo, "Chinese brands must have internationalized designers if they want to be internationalized. Chinese designers must rely on Chinese brands to achieve internationalization."

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That is to say, we must rely on Chinese culture.

"The influence of Chinese elements on the world can not be underestimated. There are many Chinese elements in Chinese fashion designers."

Mr. Yang Ziming said CABBEEN.

But the performance of this Chinese element can not be superficial.

In 2008, Xia Zichen released a series of ready-made clothes in Paris fashion week. However, the founder Wang Chen Caixia later changed the previous design concept, removed the surface Chinese symbols, and moved towards the new aesthetic idea of "women first, not Chinese women."

"Now Chinese designers have stepped out of totem restrictions, and have gradually regarded themselves as international designers.

I design the prettiest for people all over the world.

This is the most important concept for designers.

Hearst, general manager of China, said Yang Min.

Designer Marco has always regarded design as a kind of creation.

At a Paris exhibition, she covered the ground with soil from China, buried her clothes in the soil, and took them out after a period of time, so that each piece of clothing was impregnated with the soil.

In 2008, she spent half a year visiting rural areas in the southwest, living with the peasants, and then weaving, dyeing and sewing all her clothes with her partners in the remaining eight months.

Since the establishment of an exception in 2006, Marco has gone away for some time every year to pick up style and create. Her pursuit of sense of time and storytelling has given her clothing a special meaning, making it more like a piece of artwork.

In 2008, Marco won the Eleventh Claus Prince Fund Award in Denmark. The awarding party commented that "her clothes are full of extraordinary handcraft and aesthetic quality, emphasizing the connotation of clothing, cultural heritage and the relationship with the body, and advocating the design and production of humanistic care and environmental awareness."

In contrast, "many enterprises seek instant profits, and can not tolerate long-term ploughing."

Therefore, the growth cycle of domestic brands is short, and it will decline to the next five or six years.

If we are eager to succeed, we will ignore the long-term development of the brand.

Du Yuzhou, President of China clothing association, pointed out that in the new era, the cultural value of clothing exceeds its use value and exchange value and becomes the leading value.

When people buy a piece of clothing, they tend to focus more on its cultural value and aesthetic value, and buy a spiritual enjoyment or aesthetic experience, or spend money on a symbol.

Therefore, if China wants to develop into a powerful country in clothing, it must explore its value from a cultural perspective.

"What we advocate are brands and products that represent western culture or European and American culture. Chinese people are not confident in their culture.

Therefore, we have to have a sense of historical responsibility and a sense of mission, so as to find the confidence of Chinese culture through the development of the garment industry.

Zhang Rongming, chairman of Beijing Adam company, said.

Those cultural traditions that we have forgotten, neglected and lost are actually the cultural basis of the origin of Chinese clothing brands. Chinese culture, which constantly innovates, accumulates and precipitates, will become the gene and core of Chinese clothing brands, and eventually create a brand value with lasting vitality in the process of inheritance.