In the fierce competition of the global beauty market, Florasis has successfully attracted the attention of overseas consumers with its unique brand positioning and profound cultural heritage. This article will analyze how Florasis has made its way to the world from aspects such as product design, cultural communication, and market strategy.
Product Design: Integrating Chinese Aesthetics
The product design of Florasis is one of the key factors for its successful international expansion. The brand skillfully incorporates elements of traditional Chinese culture into its products, creating distinctive beauty products. For instance, the window-like box, the locket lipstick, and the snuff bottle-shaped foundation container are all vivid representations of traditional Chinese culture. These designs not only meet the needs of overseas consumers for beauty products but also allow them to experience the charm of Chinese culture.
The “West Lake Impression Custom Gift Box,” themed around the “Ten Scenes of West Lake,” is a paragon of Florasis in spreading Eastern aesthetics. This gift box, from its packaging to the product names and concepts, revolves around the aesthetics of Chinese tradition, even engraving ancient love stories on the product itself. Once launched, the gift box attracted the attention of Japanese bloggers who, after purchasing through cross-border e-commerce, posted reviews on social media, praising its packaging and texture as stunning and the Eastern carving skills as superb. This event quickly fermented on the Japanese internet, with many Japanese netizens expressing their attraction to Florasis’s style and the urge to purchase.
Cultural Communication: Showcasing Traditional Chinese Culture
Florasis not only integrates Chinese aesthetics into its product design but also spreads traditional Chinese culture through various means. For example, Florasis once joined hands with People’s Daily New Media to create the “Florasis Miao Impression” series of products, visiting the Miao silversmith village of Ma Liao in Guizhou, where silver craftsmanship is passed down, drawing inspiration from the intangible cultural heritage of traditional Miao villages, and showcasing the beauty of Miao craftsmanship to the public.
In October 2020, Florasis released a large-scale poster of the “Miao Impression” series on the NASDAQ screen in Times Square, New York, USA. Subsequently, posters of the same series of products also appeared in Shibuya Shinjuku, Japan, and other places in Thailand. These measures not only enhanced the brand’s international visibility but also allowed more overseas consumers to understand and fall in love with traditional Chinese culture.
Market Strategy: Product Adjustment According to Local Conditions
During its international expansion, Florasis adjusts its products according to the actual situation of different markets, creating personalized products for different groups. For example, in the Japanese market, Florasis, in line with the local preference for minimalism and attention to detail, launched seasonal products such as cherry blossoms and maple leaves, and adjusted the product colors to be fresh and elegant; in the European and American markets, Florasis’s products tend to be more individualistic and bold in color to cater to the aesthetic preferences of local consumers.
This strategy of product adjustment according to local conditions enables Florasis to better meet the needs of consumers in different markets while maintaining the brand’s uniqueness and cultural heritage.
Cultural Confidence: The Core Support of the Brand
Florasis’s success lies not only in its product design and market strategy but also in the cultural confidence behind it. Necessary adjustments to the brand’s nuances according to local conditions are strategic, but the brand’s tone and craftsmanship are supported by deep cultural confidence. By showcasing the charm of traditional Chinese culture through its ultimate Chinese-style design and cultural communication, Florasis has won the recognition and affection of overseas consumers.
