Chinese museums are crowded with exhibits of European jewelry brands. During the summer, Bvlgari’s traveling exhibition “Serpenti Factory” opened at the Genesis Gallery in Beijing, and another traveling exhibition “Gabriel Chanel” was held at the Power Station of Art in Shanghai. Fashion Manifesto premiered in London last year.
And next month, at the Fosun Art Center in Shanghai, Pomellato will unveil its first retrospective of advertising photography titled “Art & Jewelry,” and Cartier will present “Cartier: The Power of Magic” with more than 300 pieces from its archive collection. We are planning to display Chinese art. At the Shanghai Museum.
This series of activities shows how Western brands’ strategy of partnering with museums to elevate jewelry to the status of art and thereby increase its popularity is resonating with Chinese audiences. . However, these efforts go beyond previous efforts by integrating elements of Chinese culture and positioning Western brands not just as cultural exporters but as active participants in local creativity. Masu.
“If efforts (to integrate Chinese culture) remain at a superficial level, such as pasting zodiac signs on unchanged products released during the Lunar New Year, consumer rejection will be reflected in sales.” said senior partner Veronique Yan. Partnered with Boston Consulting Group in Shanghai.
“More brands are now recognizing that having a Chinese element or two here and there is a cultural stereotype rather than a cultural conversation. Some work closely with artists and craftsmen. Events and products that result from these relationships are usually admired and admired by Chinese consumers.”
The looks for the Cartier show are created using cAI, an artificial intelligence model designed by Chinese artist Cai Guoqiang. Meanwhile, Pomellato will collaborate with Chinese photographer Chen Man to present unique high jewelry pieces featuring inlay details by fellow master craftsman Guo Weijing.
Boris Balboni, Pomellato’s chief marketing officer, said: “China is a relatively new market for housing, and Shanghai is very receptive to art and culture, so it’s the perfect place to host this exhibition. I felt it,” he says.
Taking a similar approach, De Beers Jewelers, which will launch a new high jewelery collection in China in October, will include Wang Jing, master conservator of the National Palace Museum in Beijing, conductor Nie Fan, and ballet Dancer Meng Qingyang.
Céline Asimon, Chief Executive Officer of De Beers Jewelers, said: “This reflects our broader strategy of authentic cultural engagement and our belief in the power of art and culture to create meaningful connections with our clients. We agree.”
Sometimes cultural connections arise by chance. For example, some of Bvlgari’s designs feature symbols characteristic of Chinese culture. “The Chinese are already familiar with our snake motif because it is prominent in mythology and the zodiac, but they are also familiar with the shape of the (Diva’s Dream) collection. It was inspired by the mosaic of the Baths of Caracalla (in Rome), but in China it reminded me of ginkgo leaves,” says Jean-Christophe Babin, CEO of Bulgari.
This overlap fosters collaboration and strengthens brand authenticity across other cultural activities. Additionally, Bvlgari regularly commissions works by Chinese artists for exhibitions in China. The brand’s Beijing show showcased seven original artworks, ranging from bamboo sculptures to video animations.
BCG’s Yang said Chinese consumers consider cultural relevance to be a key strength of luxury brands. “80% of luxury consumers seek brands that actively engage with local Chinese culture,” she says. “They value brands that deeply incorporate Chinese cultural heritage, such as craftsmanship, into brand storytelling and product creation. Brands that act ‘glocal’ make a real effort to engage in cultural conversations. It is assumed that ”
Van Cleef & Arpels, owned by Richemont, has taken a different approach to establishing its cultural relevance in China: education through L’Ecole, the School of Jewelry Arts.
Founded in Paris in 2012, L’Ecole offers courses in the history of jewelry and gemology, organizes exhibitions and publishes materials related to the art of jewelry.
Although Van Cleef & Arpels funds L’Ecole, its curriculum covers the full spectrum of jewelery craftsmanship beyond the Maison’s collections. Still, industry insiders agree that the brand is the main beneficiary of this education venture. Expansion in China is a priority for L’Ecole, which opened its first overseas campus in Hong Kong in 2019, followed by a second campus in Shanghai. As Christie’s and Sotheby’s educational operations across Asia demonstrate, providing knowledge to consumers who spend large amounts of money on unique jewelry is critical.
Such efforts could boost demand as global luxury goods sales slow, with LVMH, Richemont and Kering all reporting sales declines in 2024. “The key to long-term success lies in a brand’s ability to create appeal,” says Weiwei Xin, a Hong Kong-based partner at consulting firm Bain & Company.
“These cultural activities build long-term brand equity, which is a different measure of success than short-term sales, which can fluctuate.”
However, Yang said that while Western brands have become more sophisticated in engaging with Chinese consumers, there is an increasing need to incorporate deeper elements of Chinese culture across borders. He points out. She points to Loewe’s Crafted World exhibition, which toured to Shanghai, as a best practice.
“With 40% of China’s luxury spending taking place overseas and 20% of shoppers coming from the newly connected affluent class, brands are catering to these increasingly discerning consumers. It’s clear that there’s nothing wrong with strengthening cultural offerings for the sake of the world,” says Yang.
