Inheriting The "Craftsman Spirit" Belonging To China

At present, both at the national level and at the consumer level, " Craftsman spirit "Strong call" highlights the inherent demand of a new round of consumption upgrading and industrial upgrading. The "craftsman spirit" that keeps improving requires enterprises to really return to product quality. The fast consuming mode of crude production has made consumers tired. Under the background of consumption upgrading, enterprises must pay more attention to the quality and service of products.

More than 20 years, original Design Made Shenzhen. Women's wear Leadership and industry appeal in the industry. Designer brands, deeply rooted in the fertile soil of Shenzhen, tell the world their brilliance in different ways. In this era of calling "craftsmen" to return, the designer brands of Shenzhen show us the "artisan spirit" which has been extended since the 90s of the last century.

Inheriting the "craftsman spirit" belonging to China

Designer is not only a single designer role, but also plays a role of inheritor in the long stream of Chinese traditional clothing culture. The same goes for Shenzhen women's wear, who plays the leading role in the industry.

It is precisely in the spirit of "craftsman" who is striving for perfection. TANGY, the designer of Shenzhen Tianyi, has brought the ancient fabric of silk from the edge of extinction and extinction to the center of the fashion stage and made it shine.

A small piece of silk needs to be processed through complex and tedious processes. Designer Liang Zi will come to the factory in person to air the old and precious fabrics with the workers. She will give the silk fabric more fashionable elements in the process of obedience to the old age, and the sense of design and form will also be more suitable for the needs of the inferior.

The creative Liang Zi did not solidify in the past, but constantly used modern science and technology to develop ancient fabrics, and continuously endowed this unique Chinese fabric with new technology and new life. On the basis of retaining the unique characteristics of the original fabrics, she designs elastic, colorful new fabrics according to people's needs.

In the fashion of "fast", we can see all kinds of foreign fast fashion brands everywhere. It is hard for a brand to slow down and polish a piece of fabric. It is hard for designers to spend time and money in cultural inheritance. The importance of Chinese clothing is not whether the form is Chinese, but the culture that precipitates and will inherit in the future must have Chinese temperament and Chinese spirit. It must be able to inherit the "craftsman spirit" belonging to China.

　　 Face up to the turn of life of a generation and a generation.

These designer brands established in 90s have witnessed the growth and change of a generation. After 20 years of growth, the original target consumer group's own conditions, social status and economic capacity have undergone great changes. How to cope with the aging of the existing customer base? This is a problem that we have to face and solve.

As Yang Fan, another designer of Chinese fashion brand in Shenzhen, said: "only designers who can read and understand people can be called designers. Design is inseparable from human beings, and only by locking the research direction, the more meticulous the research, the more accurate the demands and emotions of people can grasp the relationship between design products and target consumers.

It can be said that these designer brands started in 90s are facing the problem of consumer acceptance.

For example, Shenzhen EACHWAY Yi Hui, the target consumer group of the brand from the beginning of 70 after the 1980s, it took three years. Zhao Huizhou, a brand designer, said: "when our target customers are getting old, what we must do is not simply to give up, but to undertake."

70 the latter generation will find themselves no longer suitable for a brand's clothing with the change of their own conditions and social roles. As consumers, they are also actively looking for changes and breakthroughs. Smart enough companies will never let these old customers go away, but offer an excellent alternative to these old customers.

Thus, "Hui" came into being outside the "Yi Hui". This new brand is located at the age of 40, which has certain social status and cultural accomplishment, and has certain style and requirements for life. Based on the tireless pursuit of designers and the constant pursuit of innovation, Yi Hui successfully completed the acceptance of the original aging VIP, and at the same time, the customer group's acceptance context became clearer.

In the face of aging VIP customers, designers as brands should always maintain a young mind and precipitate themselves to symbolization and last generation. What is more important is to keep learning a heart and constantly learn and master new resources and information. Zhao Huizhou said so with emotion.

The problem of "turn over" of a generation of designers and generations of lifestyle designers in Shenzhen is actually a problem faced by quite a number of garment enterprises. This implies a new round of industrial upgrading and consumption upgrading. It requires enterprises and designers to rethink the consumption preferences and the discerning grade of the new middle class that will soon become the main consumer.

The new middle class consumer group is no longer a mass cognitive aesthetic group. They pay more attention to their feelings and pursue their differences in consumer behavior. Monotonous consumption behavior and rough and fast consumption will be abandoned.

　　 To be an old craftsman is the key to success.

It is understood that the Shenzhen designer brand developed in 90s has experienced a shuffle. The number of designer brands growing up every year is numerous, which makes the competition between brands become more and more competitive. But in 90s, the choice of designer brand representatives was to follow the "craftsman spirit" and design to return to the essence of products.

Zhao Huizhou thinks: "the influence of the brand comes from the product at last, and the consumer can deny your brand. But as long as the consumer continues to approve your product, as long as the consumer can still find what you want from your product, your brand will continue to do so."

This group of designers, like skilled craftsmen, carve their own brand culture carefully, repeatedly polishing the quality of products, trying to present the best products and customer experience to customers.

"Craftsman spirit" promoted Japanese enterprises to create Canon and Nikon, and promoted Germany to create Mercedes Benz and SIEMENS. And the luxury industry in France can make the best quality possible without the French handicraftsmen of decades. They can engage in an industry for decades, and can even dedicate their lives to this industry.

In the studio of CHANEL, France, there are a group of 30~40 year old women workers who can persist in working for CHANEL for more than 30 years, until their eyes can no longer embroider on dark colored cloth until they retire.

This "craftsman spirit" is very rare both in China and abroad. And the development of Shenzhen women's clothing brand over the past 20 years is not a continuation of the "craftsman spirit". Those designer brands that are steadfast in creating brand names and genuine products have truly become the models of clothing brands. In this period of consumption upgrading and industrial structure adjustment, it is a magic weapon to deal with the new consumer class to make "old craftsmen" and "people-oriented" and return to the essence of design and products.