Emotionalising selling points
European engagement in countries like China and Russia takes place in the tension areas between two major and significant cultural groups. A precondition for the encounter is a cosmopolitan attitude but also the willingness to try new things and discard old habits. After all, anyone who has been active abroad knows that copying Western processes and ways of thinking is not enough, and above all, it’s no guarantee of success. The global trend to emotionalise selling points in product presentation and embed them in a world of experience also, and especially, applies to China and Russia. Design no longer has just the task to inspire and increase value, but it rather needs to create adventures — and tell stories. After the fall of communism the retail sectors in Russia and China have been influenced not only by the upper classes but also by a huge middle class. Both cultures aspire to Western lifestyles, something that after a lifetime of uniforms is hardly surprising. In both countries, a generational change among consumers has occurred. For the first generation it was predominantly about luxury and the display of wealth. The second generation, on the other hand, is familiar with the symbols of prosperity and has a more subtle approach to luxury.
China’s aspirations
Young Chinese women in their 20s are affected by the country’s former one-child policy and seeking ways to relax and reward themselves for the private and professional pressures they must endure. Their parents have given up a great deal in order to give them a better future. However their lives usually take place in hectic, over-crowded and polluted metropolises and their workloads are enormous. The desire to treat themselves and give themselves rewards is growing.
This observation was central to our work for jewellery brand Dada (see page 22) and eyewear brand Bolon. The Western lifestyle opens up dream worlds to prospective customers that transform shopping into something unforgettable. Our aim was to strengthen their awareness of their own identity and what made them unique. We specifically focused on the romantic ideals of young Chinese women. Whether it’s the iconographic image of the Eiffel Tower or French actress Sophie Marceau, both stand for Paris, the ultimate fashion emblem. In the case of both brands we played with elegance and fashion consciousness and created connotations of longing, sexiness and self-confidence — all attributes greatly in demand by modern, well-paid Chinese women. The atmosphere is emphasised by cool lighting that satisfies the Chinese beauty ideal of pale, delicate, even skin. The Bolon boutique additionally features opulent materials, white and black marble, fine leathers and gold shimmering surfaces. Both stores were very well received and capture the Chinese zeitgeist.
Russian values
A generational change among consumers also characterizes the Russian market. The new, cosmopolitan, educated middle class consciously differentiates itself from what it perceives as the tasteless wealthy class. Success and prosperity has to be addressed in a more restrained fashion. For Bork, a premium brand of home appliances, we played up the “I-want-it-now“-aspect. A rigorous, high-quality design represents the brand values of reliability and durability, while the boutique-like character creates the lifestyle context. By owning a Bork device the economically successful male target group shows not only that they can afford one, but more importantly, that they have a sense of style.
Time as intercultural factor
Local infrastructure, timeframes, working methods and detailed target group analyses are other country-specific factors that must be kept in mind. For a Chinese person time has always been money and he lives in constant fear of losing too much of it. The massive expansion pressure has led China‘s entrepreneurs to further accelerate the pace. Eventually the first converted stores served as a sort of trial run because there was simply not enough time for testing — no easy task for designers of whom fast yet precise work is demanded. The motto is: Not tomorrow, but yesterday. This would be inconceivable if one wasn’t hugely flexible and adapted to Chinese work habits. It is also necessary to keep a constant eye on the discrepancy between objectives, the monetary resources available and timings. Quality requirements and aspirations are of an international standard for both China and Russia. What happens ultimately is that the Chinese clients want to see these unrealistic deadlines adhered to while in Russia you can often postpone them.
Whether it’s Asia, Russia or Europe the “Think Emotionally, Act Locally“ credo always applies. Without openness towards one’s counterparts, working methods and needs, professional design is impossible. Only a mindset focused on the user can result in a coherent design and happy, satisfied customers.
