A Research On China’s Modern Textile Brands

In the present era, science and technology are developing with each passing day. Information flow enhances increasingly, and our lives become wonderful and amazing due to a var iety of colorful products which not only have their own brands, but also come from different countries. Despite of the impact of globalization, they still maintain their own unique cultural characteristics. Brand culture is an important asset of a country with intangible values. It is a kind of life exper ience and historical heritage domestically. Furthermore, it shows the image of the country to the external as an important part of the national soft power. Textile brand is no exception. As an organic concentration of technological innovation, cultural identity and business tradition, it is a certain standard as well as a patent protection. On the basis of researches on China’s modern textile brands, the difficult course of the introduction, digestion and self-dependent innovation of China’s modern textile technology can be reviewed from a very important perspective, so as to excavate predecessors’ ideological emancipation and method innovation in the process of integrating the national self-reliance spirit, the traditional excellent culture and the modern textile technology organically, which also has a positive practical signif icance for the cultural construction of China’s transformation from a big textile country to a powerful textile country today.There were plenty of previous studies on the emergence and development of China’s modern textile industry. However, in comparison, there were rare deep and systematic exploration, arrangement and analysis on the cultural connotation of the products of the textile industry. With regard to Zuo Xuchu’s researches on modern China’s cultural and historical data of “trademark”, their detailed historical data and physical display image have provided clues and research bases for this article to search the textile “brands” of modern China. Nevertheless, after further systematic investigation and analys is, it was believed in this paper that “trademark” was only the external manifestation of “brand”, while brand was the organic unity of technology, patents, culture, management and so on, especially the intrinsic cultural value of brand which was its full animated signif icance. Most of the birth and image-building history of China’s modern textile brands was scattered in the revolutionary history, modern and contemporary general history, economic history, character history and other studies related to the the rise of the modern national textile industry, but the complete data mining and the arrangement work haven’t been touched yet. Currently, theories about the values of “brands” haven’t run their full course in the domestic and foreign business operations and academic researches. Along with the impact of the global economic integration on China’s textile industry, various regions have realized the importance of the protection and reuse of brands to the protection of time-honoured brands, the inheritance of cultural heritages and the revitalization of the national industry, and started to associate the national culture and the urban culture with the ecological economy, brand economy and other business modes from the level of macro-strategy, which is also one specific requirement and endogenous drive of our country’s present “One Belt and One Road” strategy for the research on the history of textile technology. The full s ignif icance of brand building is to explore the historical value, technical value, cultural value and social signif icance in the process of its formation, which is not only the significance of carrying out a research on China’s modern textile brands in this article, but also the reason why this topic selection is cutting-edge and innovative.Based on previous researchers’ macro-level and fragmented studies, the “brand” concept accompanying the Western modern industrial social production was regarded as the theoretical basis to put forward some argument viewpoints, such as “brand is the specific operation of the national cultural innovation in the economic society”, “establish deep relations through technology based on the innovation in brands and the national economic culture” and other points, build three research propositions, namely “Brand and Technology Innovation”, “Brand and Cultural Self-confidence” and “Brand and Operation Innovation”, and explore the cultural development and the specific operation in the innovation of China’s textile brands. Thereafter, the relationship between the national culture and corporate brands were explained mainly by means of literature reviews and case studies related to China’s modern national textile brands, and the meaning connotations of China’s modern textile brands obtained from traditional culture were analyzed through the dialectical symbiotic relationship between culture and technology; the history of “Shenxin Renzhong”, “Meiya Silk” and “Wuhe Epai” these 3 modern Chinese textile enterpr ise brands was taken as case examples to explore how enterprises could build up brand images and improve brand values by considering technology research, cultural exploration and operation management as the innovation bases, and to study the influences of traditional culture on brand image creation; then the bottlenecks of contemporary textile enterprises and their brand development were discussed based on the textile machinery innovation in order to extract the referential effects of the historical experience of modern national textile brand innovation in China on the construction of contemporary textile brands.It can be found from the case analyses conducted on the modern national textile brands in this study that although many famous enterprises have emerged in the modern textile industry of China, their technology and mechanical equipment mostly depended on the overall introduce so as to complete the generation and upgrade of their product brands, and their advantages in product quality was minimal. Therefore, the core competitiveness of the products lies on the combination of China’s cultural traits and sense of national crisis. No matter it is the external brand image design of textile products or the selection of marketing tools, or the perseverance in its inherent material, quality and details, all of these have showed China’s unique spir it and style, such as national cohesion, silk cheongsam culture, spirit of harmony and cooperation, entrepreneurial spirit and so on. It is these cultural traits that have a tremendous appeal to Chinese at home and abroad as well as the Asian market. In addition, technological innovation and management tools become the important sources for the formation of brand values and brand cultural inf luences, and modern national textile brands are widely acclaimed by virtue of the excellent quality and sense of satisfaction for psychological demands.In summary, the following 3 research conclusions were integrated further and put forward in this study, which were also the innovative points of this research:First of all, different from the perspectives of previous researches on the modern political and economic history, this study focused on the interaction between science, technology and social culture, and started from China’s fairly abundant cultural soft power to discuss the modern national textile enterprises’ strengths and capabilities in using traditional culture, popular culture, science and technology and manufacturing. Moreover, it was pointed out that these enterprises had created a number of outstanding national textile brands in the development process, and gained some practical experience and market infrastructure. National cultural soft power is not only conductive to the rapid promotion of contemporary textile brands, but also helpful to enhance brands to be the comprehensive values of the national image.Secondly, different from previous researches on trademarks or brand theories, this study has specifically demonstrated the internal consistency of the soft power of Chinese culture and national textile brand images through presses, archives and other historical documents. Modern national textile products have the brand image of advanced technology, excellent quality and orientation in design. The brand image of these products reflects the national image of the Chinese nation. While pursuing to walk on an international road, China’s contemporary textile enterprises shouldn’t lose their own cultural connotation, as brands are the re-interpretation and re-creation of Chinese culture.Thirdly, different from previous simple historical researches, the historical experience was applied to the practice of the innovation of contemporary textile brand culture in this study to point out that the brand image of modern national textile had relevance with the national economic strength, and it was the reflection of the representative industrial production and product research and development of the country. The brand image of contemporary national textile industry should be established on the basis of the textile principle, machinery technology and the independent innovation of culture. Technological innovation is the lasting vitality of brand images, while cultural self-confidence is the fountain head of the eternal value of brands.This study still has some defects. For instance, the collected and summarized historical documents are not rich or comprehensive enough, and the history of the establishment of various minority textile brands still need to be explored and expanded further and other defects. In particular, due to the limitation of materials and time, besides cotton, wool and silk, the research on the brands of linen goods, the major category of China’s textile, hasn’t been expanded basically, which is one of the topics that needs to be expanded and deepened in the further for this study. The research on China’s modern national textile brand culture is only a beginning of the study on China’s textile brands, as there are many issues left to be studied and expanded. This article is only throwing out a sprat to catch a mackerel, so related senior experts’ criticism and correction are still expected...