I. Case Study 1: YanYan Knits: Building Community through Material

physical store and its move to a purely online strategy is a result of the change in which

people shop–online shopping allowed for consumers to purchase directly from the global

brands they were sourcing, thereby minimizing the need for a physical multi-brand store.

The closure of Opening Ceremony’s retail stores was announced in 2019. As a

response to the COVID pandemic, the brand closed all its physical stores and moved to

focus on its online platform, a loss mourned by many across the fashion industry. Colette

too closed its doors in 2017, evoking similar sentiments within the industry as an “end of an era.”131 This is in part due to the e-commerce boom, which ushered in a new period of

production, distribution and consumption. Chinese fashion accelerated with this new-

found model, transforming the way fashion boutiques, designer showrooms and e-shops are created.132 It is within this boom that YanYan Knits and Bobblehaus launched their

brands–both bringing in something new and different, and able to do so through a

digitized sphere. The digital sphere as newfound space allows customers to feel

comfortable as they browse their e-shops, but like their predecessors of Opening

Ceremony or Colette, their brand community is not just about selling clothing–they are

interested in creating a relationship with their customers. As a part of their brand identity

and their methods, YanYan Knits and Bobblehaus first establish a foundation of trust

with their customers, much like their predecessors, before inviting them into their

community. A strong brand identity as a foundation attracts customers to a brand, but

131 Andelman, Sarah. Colette, Paris Fashion Destination, Is to Close in December. The New York Times. July 12th, 2017. https://www.nytimes.com/2017/07/12/fashion/colette-paris-sarah-andelman.html Ahmed, Osman. “The End of an Era: Colette to Close Its Doors.” Business of Fashion. July 12th, 2017. https://www.businessoffashion.com/articles/retail/colette-to-close-after-20-years/ 132 Wu, Juanjuan, Yue Hu, Lei Xu, and Marilyn R. DeLong, Fashion in Multiple Chinas, 90.

creating a lasting relationship requires much more effort and thought on part of the

brands.

Brand membership operates from the basis of exclusivity and inclusivity–by being

a part of a brand community, one enters into an exclusive space that is tailored to that

group. Simultaneously, the exclusiveness of the brand also becomes a form of inclusivity

for those invited, as one can be fully a part of the community and space. This gives the

feeling of entering into an exclusive space, both physically and emotionally. Brand

memberships or brand gifts are a part of this exclusivity/inclusivity idea, in which brands

award members with gifts or discounts as part of thanking them for being a part of their

community and to further encourage brand engagement. Loyalty programs, in which

gifting, discounts, or point systems are utilized, have been shown to be particularly effective in the Chinese market for brand engagement.133 These programs are critical for

brand engagement within China, with 89% of Chinese consumers stating that loyalty programs increase their spending.134 Luxury brands such as Coach or Gucci have long-

standing loyalty programs in China, highlighting the importance of inclusion and deeper connection within Chinese designers and brands.135 For small scale designers, customers

of the label sometimes become friends of the designers and give first hand feedback and services that are customized and individualized.136 It is not uncommon for a loyal

customer to receive individualized treatment within a brand. As part of a brand’s

membership, customers are expected to be treated as a part of the brand community and

133 Rapp, Jessica. “Study: 89% of Chinese Consumers Say Loyalty Programs Increase Their Spending.” Jing Daily. May 18th, 2016. https://jingdaily.com/study-brands-targeting-asia-market-need-diversifyloyalty-programs-risk-left-behind/ 134 Ibid. 135 Ibid. 136 Wu, Juanjuan, Yue Hu, Lei Xu, and Marilyn R. DeLong, Fashion in Multiple Chinas, 64.

therefore need to be heard within its sphere, highlighting the exclusive nature of a

community and the necessity for them to be inclusive of their customers. A customer thus

feels like an insider, which prompts them to be further involved in the brand.

As seen in the continuation of Opening Ceremony’s community beyond fashion,

community acts as a base to various outlets, with fashion being one of many. Concept

stores and multi-brand retail stores helped pave the way for not only community building

but also various strategies for branding and engagement, allowing smaller, emerging

designers to articulate their own sense of identity and community. While Chinese brand

strategies do focus on the aspect of community and reciprocity, these strategic brand

directions function beyond that of a purely cultural background but in step with the

current digital sphere. With the boom of e-commerce and online communities, brands

must heavily consider these outlets as part of their brand community. Virtual

communication and the focus on social media becomes key within the time and space that

YanYan Knits and Bobblehaus operate in.

PART 3: CASE STUDIES

The two case studies considered are of the labels Bobblehaus and YanYan Knits.

Though the co-founders and designers of the brands share their Chinese heritage in

common, they have created vastly different brand identities and designs, showcasing the

variation in emerging Chinese designers. As they are targeting different audiences, their

approaches also vary.

The following section separates YanYan Knits and Bobblehaus as two case

studies. Each highlights how the brand’s ethos, social media, design and collaborations

contribute to building their brand identity and attracting their brand community. As both

brands utilize different approaches to their marketing strategies and design processes, the

case studies will vary in its content as well. While YanYan’s section is heavily design

and product focused, the section for Bobblehaus focuses on social media and their pop-

ups. However, both utilize organic collaborations to connect with like-minded individuals

to formulate their community.

Case Study 1: YanYan Knits: Building Community through Material

YanYan Knits launched in 2019. Founded by long-time friends Phyllis Chan and

Suzzie Chung, YanYan Knits is a knitwear brand that derives its name from the

Cantonese phrase “YanYan,” which means “everyone” (人人).137 Their name highlights

the brand ethos and foundation, emphasizing“thoughtful design-driven products,” while

“thinking about people from sourcing to design to manufacturing to creating a connection with [their] customers.”138 Relying on mutual prosperity for the overall community to

137 “About YanYan.” YanYan Knits. https://yanyanknits.com/pages/about 138 Ibid.

thrive calls back to the cores of Chinese society, of which is naturally ingrained within

YanYan’s core values. YanYan’s ethos begins with concern for people in general,

whether that is using leftover yarn and material or connecting deeply with their

production team. Chan notes that this is in part because they noted a misunderstanding of

how precious resources and production efforts are in the creation of a clothing item,

specifically pointing out the“misunderstanding [of] the worth of someone’s skill and effort because of the geographic location the worker/technician/designer is from.”139 As

designers whose designs and productions are sourced in China, they are proving the value

of China as a space that embodies creative value. They reflect the cultural confidence of

their country, hoping to highlight the varied talents in China. She emphasizes, “As

designers and makers, one of the things we felt was misunderstood in general is how much time it takes to concept, develop, and create things.”140

Highlighting Chinese elements that are not typically seen as Chinese motifs, the

brand expands the view on what it means to create Chinese clothing with concern and

gratitude to their makers. Coming from a background as the director of knitwear at Rag &

Bone, Chan was familiar with the burnout and quick pace of fashion production. Chung

too was experiencing it firsthand, studying and working in Hong Kong as a designer

before she joined Chan. A reaction against this fast-paced calendar, the brand releases

two collections a year, allowing Chan and Chung to design products that “celebrates the

technique and quality [they] put into each item, whether it is the yarn [they] source from Italy or pushing [their] factory to do challenging stitches and yarn combinations.”141

139 Chan, Phyllis. Interview by Yin Chin Casey Huang. New York (Remote), January 10th, 2022. 140 Ibid. 141 Ibid.

Utilizing sustainable yarn was also the foundation for the brand, as they garnered factory knit that was about to expire in order to create entirely new designs.142 Not only their producer’s work, but they also share an office with the factory’s owner in Hong Kong.143

Operating off of kinship values, this deepens their relationship and creates a familial bond

between designer and producers. This shared location builds community and camaraderie

between YanYan and their producers–part of the reason it is non-negotiable to them that

their workers are paid fairly and work in safe conditions. This pace and practice allows

the brand to create thoughtful design-driven slow fashion, giving due respect to the

design and manufacturing process and how they affect all those involved.

Paying tribute to their Cantonese roots is integral to YanYan. Though the brand

began with bases in both New York and Hong Kong, Chan and Chung chose to fully

relocate back to Hong Kong for operations. “It is here we feel safe and inspired to build

our aesthetic,” Chan explains, “Hong Kong provides much of the inspiration for our

work, as well as the diaspora of ‘Chinese’ people and their culture in the West, and our

own experiences in travel and working in this industry.” Based on Bourdieu’s habitus,

they chose where they were most comfortable and most inspired to create the foundations

of their brand–their habitus. Inspired by Hong Kong streets, by grandparents who

populate it, and the colors and aesthetics of the city, YanYan Knits builds upon its own

unique view of Hong Kong and shares it with the world. Avoiding typical Chinese

motifs, the brand selects inspiration from their everyday experience in the city–spotlighting old advertising and colors in the city that are almost vintage-looking.144

142 Bobila, Maria. “Newly Launched Yan Yan is a Hong Kong-Based Knitwear Label to Watch.” Fashionista. March 18th, 2019. https://fashionista.com/2019/03/yan-yan-knitwear 143 Chan, Phyllis. Interview by Yin Chin Casey Huang. New York (Remote), January 10th, 2022. 144 Ibid.

Avoiding traditional Chinese symbols such as dragons or peonies, they are subtle in their inspirations.145 Similar to Goods of Desire (GOD), a lifestyle, homeware and clothing

brand founded in Hong Kong that stocks egg tart socks and waves of cloud scarves, YanYan utilizes everyday objects as inspiration for their designs.146 By taking inspiration

from their everyday lives, YanYan challenges preconceived notions of a monolithic

Chinese design. The inspiration comes organically from their lived experiences, both past

and present, and from their lives YanYan communicates a distinctive and personal

Cantonese point of view.

As many of YanYan’s pieces draw inspiration from their Chinese roots, they stem

from a honest and personal place that focuses on their experiences rather an a specific

motif, “including parts of [their] cultural heritage that [they] think [are] cute or special or different from [what] the West thinks is typical of Chinese culture.”147 Despite drawing

from traditional prints and their daily experiences, YanYan does not strive to be

historically accurate, but focuses on small references or inside jokes that others in the community may relate to.148 Through this practice, YanYan decolonizes the Western

gaze, forming a community through the visibility of their Chinese heritage as printed on

their designs. By opening up the space for their experiences to be woven into their

clothing and highlighting traditional art and heritage in a modern way, they showcase the

diversity of what it means to be Chinese–specifically Cantonese. Whether it is from their

youth or looking at photos of their moms, aunts, or grandmothers, YanYan Knits designs

to reimagine something, and to explore something they are nostalgic for. However, as

145 Tsui, China Fashion: Conversations with Designers, 1. 146 Goods of Desire. https://god.com.hk/ 147 Chan, Phyllis. Interview by Yin Chin Casey Huang. New York (Remote), January 10th, 2022. 148 Ibid.

they intend to be inclusive of all, those who do not relate to the symbols are still welcome

to freely participate and engage with their clothing. Even though neither Chan nor Chung

particularly planned on creating a specific community around their clothing, through their

ethos, designs, and sustainable practices, they create a feeling of community that

celebrates a modern and Chinese culture. Through their designs, YanYan embodies what

Tseëlon argues about brand communities–customers are able to see their heritage and culture represented, thereby forming a community.149 This natural formation also

reiterates Anderson’s notion of imagined communities, in which others can recognize

others in their community despite not having met.

Figure 1

The Laza print is one that is continually featured within YanYan’s collections.

Drawing inspiration from bai zi tu, which translates to ‘drawing of a hundred children,’

149 Tseelon, Critical Studies in Fashion and Beauty 9.

YanYan took this symbol of luck and prosperity and incorporated it into cardigans and

knit pants. An image with rich cultural history, the myth of bai zi tu dates back to Emperor Zhou in the year 1056, in which he was said to have had 100 sons.150 While this

image has been utilized multiple times within Chinese traditional art, ceramics, or wall

hangings, it had not yet found its way into knitwear until YanYan. As children signaled a

flourishing and happy family, bai zi tu has historically been noted as joyful and auspicious.151 Though this image is easily recognizable to those with an understanding of

Chinese art and culture, it is almost unrecognizable as a motif to Western audiences. Side

stepping the typically stereotypical Chinese motifs, YanYan formulates its own

interpretation of their Chinese culture and heritage. Figure 1 shows the Laza cardigan in

boucle jacquard, a fitted piece that is connected “with pineapple closers and peekaboo details at the center front.”152 Utilizing leftover yarn spun in Japan, the fit of the garment

creates a modernized take on traditional Chinese art and fashion, highlighting the celebration of happiness, prosperity and peace within the product description.153 Even

within the image itself, the model sits with her eyes closed, slightly pouted with curls

wrapped around her forehead, reminiscent of Chinese hairstyles of the 1920s and 30s, which were influenced by Western flapper hairstyles.154 YanYan highlights different eras

150 “姬昌（周朝奠基者).” Baidu. 2015. https://baike.baidu.com/item/%E7%99%BE%E5%AD%90%E5%9B%BE/8977677 “百子图.” Baidu. 2015. https://baike.baidu.com/item/%E5%A7%AC%E6%98%8C/1314863?fromtitle=%E5%91%A8%E6%96%8 7%E7%8E%8B&fromid=525708 151 “Private Life.” Washington University. https://depts.washington.edu/chinaciv/painting/tptgdoms.htm#:~:text=ANSWER%3A%20The%20%22one %20hundred%20children,the%20full%20complement%20of%20subjects. 152 “Laza Cardigan in Boucle Jacquard.” YanYan Knits. https://yanyanknits.com/products/laza-cardigan-1 153 Ibid. 154 Jansen, Chiu-Ti. “In the Mood for Cheongsam: New Women in Old Shanghai Glamour at MoCa.” Sotheby’s. May 1, 2013. https://www.sothebys.com/en/articles/in-the-mood-for-cheongsam-new-womenin-old-shanghai-glamour-at-moca

of Chinese history through the interweaving of traditional art and aesthetics to feature a

new form of Chinese design. By choosing children and nature to highlight in their

clothing, they return to popular motifs that are frequently showcased within traditional

Chinese art while modernizing it and maintaining the joyful nature of their brand. “It’s

also pretty cute,” Chan notes, “We chose [children] as a motif because we were looking

for something that could be as iconic as a floral print or a ditzy for the West, but is still fundamentally “Chinese.””155 In Figure 2, YanYan showcases the bai zi tu in a different

way–featuring only several children rather than utilizing it as print. Even with one source

material, YanYan creates a multitude of ways to interpret it, highlighting various ways

one can portray Chinese heritage and culture as well as how fashion can be symbolic of their nation’s cultural heritage in subtle ways.156 Updating and reinterpreting the

traditional gives it a new meaning that still embodies their Chinese-ness, which seems

fitting with the modern sphere that YanYan currently exists in, in which media and

globalization allows historical material to become easily accessible and rewritten.

155 Chan, Phyllis. Interview by Yin Chin Casey Huang. New York (Remote), January 10th, 2022. 156 Clark, Hazel and Alla Eisenberg. Rethinking Fashion Globalization, 227.

Figure 2

While giving a nod to historical art, YanYan highlights Hong Kong as a key

source of inspiration for their designs and thus formulates a uniquely Cantonese aesthetic.

Bourdieu’s habitus references the way cultural and personal histories shape an individual

or community’s identity and actions, and YanYan’s close connection to Hong Kong

embodies the way their heritage continues to be crucial to their day-to-day lives and

design. Their sunblock grandma cardigan, for example, is another interpretation of their

love and inspiration of Sham Shui Po, “a shopping district in Hong kong that specializes in arts and crafts, and houses a large eldery population.”157 With a cardigan made of color

blocks of green, yellow, blue, and pink and colorful embroidery (Figure 3), this piece

spotlights the colorful nature of Sham Shui Po and the residents within it. The colorful

157 Huber, Eliza. “This Grandma-Inspired Knitwear Is About To Be Everywhere.” Refinery29. January 21, 2020. https://www.refinery29.com/en-us/2020/01/9244991/yan-yan-knitwear-lunar-new-year-collection2020

stitches and floral adornments also give an understated nod to the craft district that is

Sham Shui Po, and the bright colors homage to the elders who dress with contrasting

colors. Taking inspiration from the everyday fashions of elders in Hong Kong, Chan and

Chung note the brightness of their outfits from mixing and matching bright colors, prints

and textures to creating “a head to toe floral look in completely different colors and flowers, or just clashing prints all together.”158 More importantly, they are inspired by the

joy and comfort with which these older ladies dress themselves, a sentiment that YanYan

incorporates into their designs. Chan and Chung’s grandparents are too a big influence on

their own relationship to fashion, teaching them to “embrace [their] own individual sense of style, be fearless and wear what makes [them] happy,” the ethos of the brand159 The

familial connection forms a foundation to their approach to the brand, incorporating

lessons from their own grandmothers and the inspirations from the elders on the streets.

Chan and Chung’s Chinese heritage and personal identities are embodied, showcasing the

way they value family connections and community can be a foundation of the brand and

a form of inspiration as well. Jointly inspired by the classic motif of ‘rainbow clouds’ (彩

雲), YanYan integrates their playful ethos with respect to their hometown, featuring their

identity in subtle ways. As opposed to their Laza print, the sunblock grandma cardigan

holds a different type of cultural sentiment–one that is tied to the everyday experiences of

living in Hong Kong. It may be a small connection to those who know and understand it,

but can also be understandable even to those beyond the sphere.

158 Ibid. 159 “About YanYan.” YanYan Knits. https://yanyanknits.com/pages/about

Figure 3

YanYan’s June print similarly takes its inspiration from Hong Kong, highlighting

the mid-century window frames and tile work of the city. Often referred to as “bathroom

tiles,” these ceramic tiles were the most common materials used to finish exterior walls in Hong Kong in the 70s and 80s.160 Commonly found on the cafe floors and building walls

of Hong Kong, these tiles point to a uniquely Cantonese aesthetic that Chan and Chung

drew from their experiences growing up and living in the city. In Figure 4, the June print

can be seen on a bra and pants set in cotton jacquard, modernizing the traditional

elements of Hong Kong and the typical presentation of knitwear. Their cultural heritage

and inspiration are at the forefront of their designs, subtly reminiscent of Hong Kong to

customers who have the same cultural background. The final piece pulling the set

160 Gaskell, Viola. “Design Trust, Design Criticism: Why Hong Kong’s Buildings are Clad in Bathroom Tiles.” Zolima City Mag. September 26th, 2019. https://zolimacitymag.com/design-trust-design-criticismwhy-hong-kongs-buildings-are-clad-in-bathroom-tiles/

together is the June work jacket, as seen in Figure 5, which is covered in the tile print and

adorned with knot buttons. Frequently inspired by samfu, cheongsams and traditional

Chinese opera costumes, YanYan interprets these ideas both literally and conceptually in their designs.161 While this seems to weave together a clearly Chinese motif within the

garment, Chan questions whether having “knot buttons really make[s] the clothing more ethnic than normal buttons.”162 To them, they are simply a part of their culture and they

present it as such–without orientalized claims or ideas, invoking the “abstract Chinese spirit” to broaden what is termed as Chinese.163 Niessen notes that the classification of

dress as traditional is a tool used to preserve both the fashion and anti-fashion and West

vs. rest dichotomy, protecting the West’s position of power and ensuring the placing of the “other.”164 However, YanYan subverts this by making traditional art modern–the

ethnic is not the past, but modernized and a part of the future. As Chan and Chung want

to create a “point of view where Western wear or aesthetic is not always the ‘neutral’ or

‘the norm,’” the integration of what would be considered traditionally Chinese motifs or

symbols is rather a way to normalize their viewpoint, usage of Chinese cultural

inspiration, and “Chineseness.” This can easily be seen as a way of cultural

representation, but YanYan’s intention is to broaden the fashion narrative and sphere

beyond that of a Western viewpoint and to stay true to what they like. Though their

designs highlight their Chinese heritage, this is not a form of self-orientalization but a

portrayal of their experiences within both the Eastern and Western worlds. Hall’s notion

161 Hawkins, Laura and Tilly Macalister Smith. “Colorful knitwear brands for amping up an autumn wardrobe.” Wallpaper. October 26th, 2021. https://www.wallpaper.com/fashion/colourful-knitwear-brands 162 Chan, Phyllis. Interview by Yin Chin Casey Huang. New York (Remote), January 10th, 2022. 163 Tsui, Fashion Theory, 600. 164 Niessen, Sandra. “Afterword: Re-Orienting Fashion Theory.” Re-Orienting Fashion: The Globalization of Asian Dress.

that identity as tied to representation can be seen here, as through YanYan’s honest

portrayal of their relationship with Hong Kong, they allow others to see their own

identities as reflected too. Noting what was missing in the fashion sphere in knitwear,

sustainability, and cultural representation, YanYan fills its own interpretation of this gap

and creates their own narrative. Basing their designs on their personal experiences and

what they know, Chan and Chung attempt to relay a combination of Hong Kong and Chinese culture with a bit of their Western influence.165 It is through this combination

that Chan and Chung feel authentic in the design approach to their brand, and this

authenticity and honesty runs throughout their ethos and brand identity, including their

dedication to sustainability both for the environment and their workers. Their designs,

Chinese at heart, and production practices naturally draw in their like-minded customers

and community.

165 Riley-Smith, Alice. “Designer Spotlight: YanYan Knits.” Vogue. August 28th, 2019. https://www.voguehk.com/en/article/fashion/yanyan-knits/

Figure 4

Figure 5

Without a physical location, the internet and social media was YanYan’s primary

way of marketing and showcasing their brand, like many other emerging designers

starting their brands in the 21st century. Chan claims they are considered “older

millennials [who] are not particularly savvy with social media,” and Instagram was the

application of choice simply because it was the platform that they used the most. YanYan

began to gain a strong following through its social media presence and its public

relations, much of which they credit to their PR teams in Japan and New York since they moved their operations back to Hong Kong.166 Instagram is still their primary source of

social media, and they spend much of their time working on how to communicate

YanYan’s designs through photos. While mainly due to YanYan’s location, the travel

restrictions amongst the COVID pandemic necessitates they express themselves through

photos. However, Chan notes that “what is most important is that the customers receive something that is even more beautiful and special than the photo they saw.”167 A quick

glance at YanYan Knit’s Instagram would showcase a myriad of images–product images,

cat memes, cute illustrations, behind the scenes of its co-founders, and customer

photographs. It is not a page that is heavily curated with one singular aesthetic, but the

page still reads as reflective of YanYan’s personality: fun, sustainable, and proudly

Chinese. In their Instagram biography, they explicitly state, “Founded in 2019; Design in Hong Kong; Proudly knitted in China.”168 Culturally confident of their heritage, the

importance of their influences is always present and clearly communicated to their

audience.

166 Chan, Phyllis. Interview by Yin Chin Casey Huang. New York (Remote), January 10th, 2022. 167 Ibid. 168 “YanYan Knits.” Instagram. https://www.instagram.com/YANYANKNITS/

Notably on their Instagram are the illustrators and creators than YanYan

highlights. From doodles of their designs on fish people (Figure 6), dogs in YanYan

Knits clothing (Figure 7), to comic strips of girls in knit sets (Figure 8), YanYan

continually highlights creators who make fun digital works that reference their brand–one of their favorite things is discovering these unplanned works.169 Showcasing these

creators on their Instagram gives them space within their community, inviting them in as

insiders while maintaining the fun and joyful message of the brand. By spotlighting

creators who are fans of the brand, YanYan Knits creates a nurturing and inviting

relationship between the two. They are not just customers, but part of the YanYan Knits

family. Within digital communities such as this, these actions can facilitate greater trust

between the brand and its consumers. These community connections and collaborations

are built around acts of mutual support and respect.

Figure 6

169 Chan, Phyllis. Interview by Yin Chin Casey Huang. New York (Remote), January 10th, 2022.