< p > depends on the successive opening of Beijing flagship store and Lafayette Shanghai flagship store. The first time Chinese fashion designers have been standing with international brands such as Givenchy, Kenzo and Alexander McQueen.

< /p >

< p > in the four floor of old Buddha's department store, known as the "Asian power" brand area, you can see the Chinese designer Gao Yang, Wang Shi Shi, Bu Kewen, Liu Qingyang, et al. < a href= "//m.pmae.cn/news/index_f.asp" > Design > < /a >. These brands, which are named after English or self created words, have their own counters, displaying the same international brands as downstairs, and the prices are no worse.

Liu Qingyang's design series also appeared in Lane Crawford, who entered this high-end buyer's shop as well as Liu He Li Hongyan.

< /p >

< p > Sarah Rutson, the fashion director of Langer, told reporters that before deciding on the 3 co authors, she inspected 120 Chinese designers.

< /p >

< p > this is probably the first time Chinese designers have come into contact with mature commercial cooperation. Before that, they mostly existed in the form of workshops, selling their products in small local buyer shops such as pillars, mint, glutinous rice and scallion, and Liu opened a shop called Taobao Min in Taobao to sell the same brand products.

The entry of large department stores to designers means more internationalized consumption groups, more stable production requirements and better sales services.

< /p >

< p > Gao Yang, Bu Ke Wen and Zhang Chi have deliberately avoided the high-end series in the shop.

Here, consumers can only buy SIMONGAO for Galeries Lafayette, a series of cooperation between Gao Yang and old Buddha.

< /p >

< p > at the beginning of the design, the buyers of the Department of Lafayette department found a high level of communication. They provided a series of market data, such as the layout, floor distribution, consumer group analysis and price positioning of the department store.

"This really affected our design," Gao told reporters. "Compared with our main line SIMONGAO, this series of cooperation has become more youthful. It has added some sports elements, fabrics are easier to handle, and knitted products are also added.

The proportion of goods has also been adjusted so that each single item can be more easily matched.

In terms of output, it is entirely based on the expectations of the buyers of the Lord Buddha to arrange production to ensure reasonable inventory.

< /p >

< p > Zhang Chi only sells his knitted series of environment-friendly T-shirt at Lord Buddha's.

"I think consumers are too important now."

He emphasized two words in particular.

Chi Zhang is divided into two series: woven and knitted. The former is more dark and rock in the design style. It is demanding for stature. The knitting series introduced in 2013 is more colorful, and the T-shirt style is also suitable for larger consumer groups. More importantly, the production capacity is more than ten times that of the woven series, and the selling price is only half.

< /p >

When p came to Beijing for investment in 2011, Zhang found that his design and production capacity were not suitable for sale in department stores.

It was not until the knitting series was launched that he decided to enter Buddha.

< /p >

< p > Chinese designers have not had much say in commercialization.

Apart from small consumer groups, their reputation is more linked to stars who promote their brands.

For example, Bu Kewen once worked as a stylist for Fan Bingbing, and his gowns, such as Dragon Robe dress and cranes dress, came from his high-end custom series Christopher Bu.

The same is true of Liu Qingyang's works, because it is a humorous and ridicule style, and many stars often choose to design her in red carpet.

< /p >

< p > "many people have heard of Liu Qingyang, but few people know that she started with graphic design, not a fashion designer."

Sarah Rutson said, "but she is very funny and quite humorous.

I want the world to see that Chinese women have great feminism and can successfully express their inner feelings. "

< /p >

< p > although Chinese designers are immature in many aspects, their existence is becoming a demand.

Beijing CEO Laurent Chemla, a department store, told reporters that they had plans to bring these Chinese designers, a href= "//m.pmae.cn/news/index_h.asp", "brand" /a "to Paris head office, but the request was relatively vague: as long as its design products were consistent with the customers of the Department, the customers in the specific field of the fashion industry could meet the special needs, and the sales performance in the same brand was outstanding.

< /p >

< p > "Sinicization" is a key word emphasized by Sarah Rutson.

"When we show our western customers, we can easily explain why these designers are so Chinese, and everyone wants to find out what the Chinese design is like.

Just like when Japanese designers came to Paris in 1981, everyone was waiting eagerly.

< /p >

< p > the same designer and the same product may not be able to produce similar attraction 5 years ago.

Sarah Rutson found that there is a rapid change in both overseas and Chinese markets. "When we opened stores in Beijing in 2007, consumers would see labels of goods before trying them out. Although they did not know what brand they were, they wanted to know the reputation of the product.

Now, they buy it because they like it. "

< /p >

"P," one of the first designers to enter Paris's show, Xie Feng recalled the experience of promoting her own brand "Ji Fen" in the early years. "From 1999 to 2000, I just opened a shop in China, and sales told me," thank you, your pants are too tight. Chinese people wear woolen trousers in winter, or "necklines are too low, and the underwear inside will be exposed."

< /p >

P > consumers are likely to improve faster than designers.

Wang Zaishi told reporters that service skills are the most scarce thing now compared to previous sales experience in online and local buyer shops.

"Direct contact with guests, let us more fully understand the needs of guests for services, let us more clearly aware of their own shortcomings."

But this is not her problem. The service training in the retail industry is generally at a low level.

When a local brand sells in a new synthetic material windbreaker with a touch of leather, it emphasizes that it is "popular" and "very luxurious" in Italy, but its biggest selling point is light and environmental protection. If consumers want to buy real luxury, he should know that their first choice is Fendi, not synthetic leather.

< /p >

< p > but the biggest test is the designer's productivity.

"Basically, we keep our original rhythm and pace in the network and the sale of buyer shops.

The brand new requirement of Lac Crawford is that we must catch up with the international fashion schedule, which means that we need to greatly enhance our awareness in advance in the design and operation of each series.

Liu told reporters that this is her most important point in the study of even card Buddhism.

< /p >

< p > even though it is also a sales channel for < a href= "//m.pmae.cn/pioneer/" > designer /a >, there is a great difference between Lafayette and Lafayette department store. The latter is closer to the general department store's counter mode, and the designer is self financing, while the former buys a handmade system. The buyers will choose the brand and style that is most suitable for Shanghai, and the risk of sale will also be borne by Lian Crawford.

< /p >

< p > this means that improving the commercialization ability of designers is not only a cooperative friendship, but also a pressure from commercial sales.

At this point, Chinese designers and other national designers receive no difference in their treatment - with the help of Lac Carver, they define the brand's DNA and uniqueness, and enhance their ability to catch consumers.

But this is undoubtedly a good opportunity for Chinese designers who have been particularly lacking in relevant experience.

In China, the biggest problem facing designers is often that there is no suitable retail channel.

< /p >

< p > but in Xie Feng's view, the channel is not the most important issue, culture is.

"On the surface, we have made great progress, but there are standards, imitation and reference objects in Chinese fashion.

Chinese designers will care about what the trend is, and consumers need reference more than natural fashion.

But on the other hand, Chinese designers still have more opportunities in the local market. In Europe and the United States, the market space of fast fashion and luxury group is narrower.

< /p >