So, where does Shanghai Fashion Week belong?

In the fashion calendar, Shanghai Fashion Week always arrives shortly after the Big 4, marking the constant growth of the Chinese city on the international scene. For the SS25 season, SHFW spans 10 days, from October 9 to 19, offering an almost perfect mix of local and international names. From homegrown talents like Mark Gong and Shushu/Tong to global spectacles by Moncler and the closing show by Vivienne Westwood, this year Shanghai Fashion Week boasts over 50% international exhibitors, who, according to CGTN, are actively exploring opportunities in the Chinese market. This constantly growing figure further underscores Shanghai's importance as a crucial player in the global fashion market. Brands like Prada, Chanel, Gucci, and Dior have repeatedly chosen the city of eastern China for off-season shows and resort collections. However, after the COVID-19 pandemic, Shanghai faced more difficulties than other fashion capitals, resuming in-person fashion weeks only in late 2022. Shanghai could be the ideal bridge between East and West in fashion, but it currently finds itself at the center of protectionist tensions. On the one hand, China is witnessing the phenomenon of "luxury shame", where consumers are reluctant to flaunt luxury goods due to social and economic pressures. A crisis has hit the entire luxury world, even affecting LVMH, which, according to recent statements, has recorded a 4.4% drop in revenues, partly attributed to the depreciation of the yen in Japan and instabilities among Chinese VICs. On the other hand, the West is imposing restrictions on the trade of Chinese goods: the European Union, for example, has introduced stricter measures on imports from China, imposing high tariffs on electric cars produced in Beijing. In such a context, will Shanghai Fashion Week be able to prove itself as a catalyst for change in the fashion world?

After a somewhat lukewarm fashion season across all four major fashion weeks, the innovation and newness present at SHFW could help consolidate the Chinese city's role on the global fashion map. One of Shanghai's significant triumphs compared to other off-calendar fashion weeks is the continuously growing presence of international brands on the city's runways. This year, the official program includes the Moncler Genius show, the runway of Vivienne Westwood, the presentation of the collaboration between H&M and local brand Garçons by Garçons, and the Hives event at the Fotografiska gallery hosted by Harrods. At the same time, many insiders worry that the presence of major international brands might overshadow the debuts of many emerging designers. While Paris showcases only industry giants and Copenhagen and Berlin focus on new names, Shanghai is striving to find the perfect balance. This season, local brands like Mark Gong and Shushu/Tong have managed to break out of the media bubble of Xiao Hong Shu (the Chinese Instagram) and have gone viral on Western social platforms. Notably, Mark Gong, previously recognized for dressing various Korean idols like members of Blackpink, gained attention this season for immersing his SS25 collection in the world of Sex & The City, dedicating the entire show to the character of Charlotte York.

The main complication in the growth of Chinese brands is the availability of distribution. Despite increasing interest from the West, most brands lack e-commerce platforms to support international retail. Among the local brands that have permeated the Western market is Shushu/Tong, which, thanks to a multi-year partnership with Dover Street Market, has found its way into the wardrobes of stars like Olivia Rodrigo and Dua Lipa. Similarly, Susan Fang has brought her brand to mainstream Western success through collaborations with Victoria's Secret, Nike, and & Other Stories. In this context, choosing the right e-commerce platform becomes crucial for growth and conquering larger markets. As Laura Ewing, a Trends & Insights researcher, highlights, finding a platform that reflects the brand's identity and targets the right audience can make the difference between remaining confined to limited niches or expanding strategically. Research thus becomes a key tool for designers aiming to connect with a broader audience, identifying platforms that offer not only visibility but also an authentic connection with their ideal consumer.

The concept, meaning the central theme that supports the brand's identity and its collections, remains a fundamental element for Chinese brands. While this aspect was once an integral part of the runways in New York, London, Paris, and Milan, over the years, the artistic importance of Western brands has diminished, often sacrificed in favor of sales figures. In the West, perhaps the only designers who still manage to evoke strong emotions through their collections are those who prioritize their own creative identity, building a brand around their personal vision. In China, this tradition is still deeply rooted. Designers like Xander Zhou and Susan Fang stand out for the strong creative vision that permeates their collections. Xander Zhou explores the elegance of male theatricality, presenting shows that blend fashion and performance art. His collections recall the golden era of the '90s and 2000s when designers like Alexander McQueen and John Galliano for Dior revolutionized runways with thematic and provocative shows. Susan Fang, on the other hand, builds her imagery around a dreamlike and ultra-feminine world. Her creations are characterized by light fabrics, intricate details, and a vibrant color palette. This distinctive approach offers a breath of fresh air in a Western panorama where major fashion weeks often present similar collections. The strong conceptual identity of Chinese brands could attract an international audience in search of originality and authenticity, opening new opportunities in the global market.

A city that embodies a continuous dialogue between tradition and innovation, clearly visible on the two banks of the Huangpu River: on one side, the Bund, a symbol of European occupations in the 20th century, and on the other, the financial district of Pudong, with its iconic skyscraper skyline. Shanghai thus represents, in many ways, an ideal bridge between East and West, particularly in the world of luxury. The luxury crisis in China and the wave of protectionism towards the Chinese market in Europe are major obstacles both for brands willing and able to expand in the West and for Western companies interested in the Chinese market. This double barrier limits Shanghai's potential as a global fashion hub. At the same time, more than ever this year, SHFW is managing to make a name for itself, breaking out of insider circles and penetrating the mainstream sphere. Perhaps the great winds of change of 2024 will finally bring Shanghai among the Big 4, redefining the balance in the global fashion landscape.