What model to our life (Figure)

In the spring of 1979, the renowned French fashion designer Pierre Cardin was invited to hold a costume show at the National Palace of Culture in Beijing. At that time, we couldn’t refer to it as a “fashion show,” but rather a “clothing viewing club.” Those attending the event, limited to officials and technicians from the foreign trade and garment industries, were required to take an exam and register their names. Despite considering China’s conditions at the time, the colorful attire worn by foreign models on stage starkly contrasted with the "revolutionary colors" under the stage when the music played, causing a significant cultural clash. The following November, the debut of China's first fashion model team on the beach caused quite a stir nationwide. Dubbed the "Black Dragonfly," this marked the beginning of our modern fashion modeling industry. Fast forward to today, when being a model is considered a fashionable career, yet many still struggle to fully appreciate these beautiful young women and their "fancy outfits." Models now appear everywhere in our lives—fashion models, car models, and countless others. Beauty pageants featuring top models are also increasingly common. Handsome men and beautiful women strut the runway in the latest fashions, not only showcasing eye-catching garments but also representing the clothing culture and societal progress of the era. Compared to the decades—or even centuries—of fashion and modeling history abroad, China’s modeling industry, which has only existed for about 10 years, is developing at an astonishing pace. China’s model contests are unique phenomena shaped by specific historical contexts. These contests are closely tied to the growth of both the fashion and modeling industries in China. Unlike in European countries, where there are no formal model competitions, many models there are discovered and promoted by the media. The European fashion media primarily focuses on models rather than entertainment, differing from China’s approach. In Europe, new models are frequently showcased in fashion magazines, and designers often learn about models through these publications. Besides gaining business insights, they stay informed about industry dynamics. Competitions also serve as effective platforms for discovering talent, with many notable models emerging from these events. Today, whether as corporate brands or designer labels, "China Design" is appearing more frequently on international runways. In September 2006, during Milan Fashion Week, the Chinese Ministry of Commerce organized a press conference under the banner of "China Day," featuring major domestic enterprises like Mingrui, Shanshan, Yeolia, and Kaixiya. For professional models, Fashion Week serves as both a performance space and a self-assessment arena, testing adaptability to large-scale events and pushing us to improve. As the largest fashion platform globally, Fashion Week offers panoramic views of the latest trends and elements, allowing direct interaction with designers to quickly grasp the essence of fashion, particularly highlighting emerging designers and new talents. Decades of effort have brought China’s Fashion Week increasing global recognition, with foreign brands joining in, broadening the scope of international influence. We hope that Beijing will soon become a global fashion stage, influencing worldwide trends. Famous international supermodel Lu Yan enjoys immense prestige in China. After nearly a decade, she ventured to the U.S., challenging traditional perceptions. Initially, people wondered why she was regarded as the most representative Eastern face in the eyes of Westerners. She recounted that a friend once compared her to an ancient painting, noting her arched eyebrows, small eyes, high cheekbones, and full lips. Wong Kar-wai’s “In the Mood for Love,” released in Paris, sparked much interest among local fashion magazines, seeking her out to wear qipaos and showcase Eastern charm. Yet, Lu Yan felt her success was tied to the changing times, economic development, and cultural diversity. Currently, soft, traditionally Eastern beauty remains popular, exemplified by Rhododendron, LV’s sole Asian spokesperson, whose image embodies a gentle, refined aesthetic. However, Lu Yan noted that even with her current popularity, she isn’t the mainstream in Western fashion, which remains dominated by white culture. Having three or five Asian faces in a show is already significant. She believes the notion of a rise in Chinese models reflects hopeful aspirations rather than actual dominance in Western fashion circles, which are more attuned to China’s vast market potential and economic growth. However, change is inevitable. As she said, "Once it was Japan, now it’s China, perhaps next year it will be Korea." Lu Yan is currently planning a grand project, akin to a student relearning everything behind the scenes—how to design a dress, manage a counter—and hopes someday to create her own brand, becoming a female boss like Ma Yanli. Modeling represents fashion, and fashion embodies the pursuit of a higher quality of life. The future of China’s modeling industry looks promising, linked to the rapid development of the fashion sector. Previously, Chinese clothing companies thrived through manufacturing, but now they are focusing on building their own brands, offering more stages for Chinese models to shine and driving the growth of the modeling industry. Moreover, Chinese models demonstrate that they are on par with the world’s best, lacking only opportunities for collaboration with leading international designers. With increasing global exchanges, they will undoubtedly have more chances to display their talents.

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