Thanks to the one-child policy, typically doting parents, and a lack of stigma around living at home well into adulthood, Gen Yers and Zers in China have inherited the financial gains of a rapidly expanding middle class. While just 4% of the nation’s urban population earned between ¥60,000 and ¥229,000 ($8,600 to $33,000) per year in 2000, that proportion had grown to 68% by 2012 and is expected to exceed 75% in 2022. 

As a result, luxury shoppers in China are, on average, roughly ten years younger than their Western counterparts, according to Bain & Company. 

 Yet while global brands continue to have considerable cachet in the market, members of Gens Y and Z are increasingly fond of local designers. Many of them are supporting unique brands like 

, responding to avant-garde approaches that let them express their individual identities. The country’s thriving rap scene has given streetwear particular clout, with purchases in this category increasing by 62% annually between 2015 and 2017. 

For many young luxury consumers, supporting local brands is a show of pride, asserting that Made in China is better than what the West has to offer. “There is definitely a patriotic or nationalist feeling for Chinese youth to purchase from Chinese brands.” says Sandy Chu, an editor at WGSN. “They’ve grown up during an economic boom period after the country’s economy liberalised, so they don’t see or perceive their country the same way an older [person] would, who might have compared things to the West.”

“Streetwear in China used to be largely limited to sportswear, but I think there’s been a lot more experimentation and blurring of boundaries recently – mixing high/low, old/new, girl/boy,” says Jillian Xin, a senior buyer at luxury retailer Lane Crawford. “In many ways, I think streetwear has always influenced high fashion in China, because luxury consumers here are younger, digitally savvy and more open-minded [than in the West]. Their reference points have been street fashion and pop culture from the very beginning.”

 has been influential in disseminating streetwear across China through its magazine, e-commerce platform, and trade show Yo’hood. “Yoho!'s WeChat and Weibo accounts have both over a million followers so it’s definitely a market leader, and the brands that they carry are well tailored to what the market is looking for. It's the fashion bible in Chinese Millennials’ hearts,” says Elayna Li, a digital advertising manager at internet company Qihoo 360. 

 Established in the same year, Hong Kong-based 

 has played a similarly crucial role in popularising streetwear. Once a humble sneaker culture blog, it has since expanded into print and web publications and a carefully curated webstore, 

“I think streetwear is the next thing in China,” says Edison Chen, who co-founded streetwear label CLOT and multi-brand e-commerce platform Juice alongside Kevin Poon. “I think a lot of big companies are attaching themselves to it, whereas before they’d be kind of shunning us. It’s growing exponentially right now.” 

 Poon explains that when they started out in 2003, there wasn’t much of a streetwear ‘scene’ in the country. “Fast-forward to 2017 and I think the market has become more mature and receptive to streetwear and now when we go to China, it’s cool to see people creating and expressing themselves in this format,” he says. “Most of the people who come into the store are very interested and curious to know the newest, coolest stuff so I think that’s the profile – people who have a keen interest and want to express themselves in an alternative space.” 

Digital culture has seen the streetwear scene steadily flourish

Creating communities and celebrity influence

A number of local brands have sprung up in the wake of success stories like CLOT, with many drawing inspiration from streetwear scenes in neighbouring Japan and Hong Kong. Random Event, for instance, plays off the underdog image, creating a subculture around itself through distinct, rebellious messaging. “I hope our shirts can be worn by people with the same values and lifestyle as us,” says founder Hong Yang. “We won over those consumers – now we’re ready to become mainstream.”

, a Shanghai-based label run by American Joshua Hupper and Chinese native Qiaoran Huang, has developed a dedicated following among young, urban women, partly due to supermodel fans such as Ju Xiaowen and Liu Wen. “Right now, our garments are being worn so much by celebrities and photographed so much,” says Huang. “It’s really meaningful for young people to see that, because they believe it’s what celebrities wear in real life, in their daily life.” He notes that while celebs were once only snapped on red carpets in haute couture dresses the middle-class consumer could only fantasise about, paparazzi shots of them in airports and on the street have done wonders for the visibility of more casual brands. 

 is bringing China’s music and fashion to local and international audiences by teaming up with music platforms like London’s Boiler Room. From skate culture references to intentionally ugly design – which has also been adopted by smaller imprints such as 

 – the collective’s popularity hinges on an ‘insiders-only’ approach. Going to its events, knowing the right people, and being in the right Instagram feeds add credibility and status. Writing for Hypebeast, associate editor Patrick Montes states that OKOKOK has a similar mission “to connect alternative music, design, photography and the local communities that serve as daily inspiration for Hong Kong’s vibrant creative scene.” [

Chinese hypebeasts see their style as a statement of identity

The perception of ‘Made in China’ among younger generations is a far cry from the country’s manufacturing identity as recently as the early 2000s. A leader in the world’s digital economy, internet use is prevalent across demographics, and there’s ample opportunity for people to become entrepreneurs. 

 As a result, more younger people see buying homegrown as an opportunity to flex their cultural pride. According to a study conducted by Tencent, Gen Zers born after 2000 tend to be more interested in domestic brands, feeling that ‘buying local’ means they’re supporting their country.

This sense of pride in heritage extends to more obvious and literal translations. 

 is an Instagram-forward brand that champions traditional Chinese style – from cheongsams to dragon prints – modernised as streetwear staples. Amping up its followers’ local pride, the brand makes ample use of hashtags like #Asianbae.

People are showing more support to local and independent designers. I don’t think it’s over for international luxury brands yet though

Local labels also collaborate with heritage brands to harness nostalgia. For instance, Warrior, a footwear manufacturer that launched in 1927, has collaborated on a shoe with streetwear brand Yeenjoy, which was only founded in 2012. “Chinese people are nostalgic and have connections to domestic brands,” says Yi Ran, the designer behind Yeenjoy. “That’s what foreign brands can never achieve… Domestic streetwear shouldn’t just mean cheap.” 

It’s important to note that younger buyers’ penchant for buying local hasn’t torpedoed the cachet of international brands – yet. “There is definitely a growing trend of buying homegrown brands. People are showing more support to local and independent designers,” says Ophelia Wu, the London correspondent for ElleHong Kong. “I don’t think it’s over for international luxury brands. There is still a high demand for these… There isn’t any backlash against them unless they have made a political mistake or a wrong move that offends Chinese consumers.”

Patriotic purchasing is increasingly common around the world

Given the streetwear scene’s fetishisation of niche purchases and limited edition goods, underground and small-scale brands in China have the upper hand over their international competitors. The key elements of hype and scarcity mean that a cult brand’s items can become highly desirable as not everyone can get their hands on them. “[Random Event is] kind of niche, so there aren’t that many people with the same items of clothing, and they have great designs,” says Yue Xing, a Chinese streetwear collector. 

 Despite selling at a lower price point, homegrown labels also bestow a certain cultural cachet for streetwear enthusiasts nationwide, conveying a sense of insider knowledge.

“It’s a really exciting time for youth in that they are into diversity.” says Chu. “Since the country’s population is so large, there are an unlimited number of microblog accounts and influencers to follow that provide inspiration to them depending on their interest.” 

 Though these online personalities have significant sway over streetwear shoppers, it’s arguable that celebrities have the greatest influence on the success of local brands. Though Random Event launched in 2012, it only saw a boom in popularity in 2017, when one of its t-shirts was worn by actor Hu Yitian. In one year alone, the label sold more than 30,000 copies of the shirt. 

Well-placed collaborations are also crucial to the popularity of both local and overseas brands in China. When 

 Nigo – Japan’s so-called ‘godfather’ of streetwear – launched his new brand, Human Made, it was sold exclusively through e-commerce platform Yohobuy!, refreshing Yoho!’s appeal among hypebeasts. 

 “Smart international brands are collaborating with Chinese brands and designers, as well as cultural taste-makers such as artists, architects, Chinese opera stars and more,” says Nick Withycombe, the director of content at 

. “While international brands should never be ‘concerned’ about the growth of homegrown brands as their own quality and heritage will always be a plus-point, they should definitely consider how to find Chinese talent and work with that talent.” 

'OKOKOK's Spring 2018 lookbook pulls inspiration from intergalactic messages'

Sandy Chu is an editor at WGSN, where she focuses on creating syndicated trends reports covering Chinese consumer insights, digital marketing and retail intelligence for WGSN Insight, and Asian womenswear and menswear retail and buying for WGSN Fashion.

Nick Withycombe is the director of content development at The Luxury Conversation, an international thought leadership platform and luxury intelligence agency. He specialises in Asia’s affluent consumers and has worked with Sotheby’s, Estée Lauder, and Swarovski.

Ophelia Wu is the London correspondent for Elle Hong Kong, specialising in fashion trends, celebrity style guides, jewellery, and curating fashion travel content. Splitting time between Hong Kong, Copenhagen and London, she is a seasoned editor, stylist, and consultant with ten years of experience in the industry.

Gen Y (born 1982-1996)

Gen Z (born 1997-2010)

Central & East Asia

China

Fashion and Style

Luxury

Social networking

Clothing, footwear, and accessories

Savings and investments

Apparel and department stores

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'As young Chinese get hooked on hip-hop, streetwear sees a boom', Quartzy

'Chengdu cool: the rise of Sichuan’s homegrown hip hop', Guernica

'Luxury streetwear goes mainstream in label-thirsty China', Jing Daily

Interview with Sandy Chu conducted by author

'Millennials push Chinese streetwear to new heights as they seek ways to express themselves', South China Morning Post

'Inside Yoho! China’s streetwear empire', Business of Fashion

'Hypebeast files for IPO', Business of Fashion

'The Chinese streetwear brands hoping to reign Supreme', Sixth Tone

'Digital China: Powering the economy to global competitiveness', McKinsey & Company

'腾讯《00后研究报告》：未来十年新消费如何布局?', 36kr.com

Interview with Ophelia Wu conducted by author

Interview with Nick Withycombe conducted by author

With Chinese Gen Yers and Zers inheriting considerable wealth from a rapidly expanding middle class, luxury fashion consumption is increasingly driven by streetwear instead of catwalks. Yet while global brands remain highly valued, why are young shoppers investing in local labels?

‘Wang Hongs’: Chinese Gen Z’s New Leaders of Consumption

Fu'erdai: the conspicuous consumers that are infuriating China

National pride has China’s youth buying locally

Supreme: selling out to Gen Z hypebeasts