Shot in Yunnan with no fixed script or production flow, the video follows Zhou through a spring day of sunbathing, coffee stops, and unplanned wandering. The aesthetic is intentionally unpolished. Slight camera shake and off-the-cuff moments give the film a lived-in quality, closer to personal documentation than brand content. Product messaging is kept deliberately light. Only in the closing line does Winona’s signature Repair Cream surface, framed as a gentle reminder rather than a hard sell. 

The campaign extends onto social platforms, where Winona maps Zhou’s itinerary across locations such as Dounan Flower Market and Haiyan Village. These posts blend travel guidance with skincare tips, embedding the product into everyday scenarios rather than isolating it as a standalone solution. 

Winona has long played the role of the lab-coat brand in China’s sensitive skincare space – all clinical claims, derm credentials, and problem-solving. Now, it’s loosening up a little, stretching beyond pure efficacy and experimenting with a softer, more mood-led way of speaking to consumers. 

Instead of foregrounding clinical claims or before-and-after comparisons, Cloud Travelogue builds around mood. The idea of taps into a positioning of skincare as part of a wider lifestyle rather than a corrective measure. 

Sensitive skin doesn’t operate in isolation. It moves with stress, weather, and the pace of everyday life. Winona’s latest campaign suggests the brief is shifting. Not toward classic cosmetics, but toward context – positioning its products less as reactive fixes and more as part of the everyday conditions that trigger sensitive skin in the first place. 

The post Winona tackles pollen problems in brand film with Zhou Keyu appeared first on Dao Insights.

The appointment follows a string of years in which Xin has steadily expanded her profile across film, fashion and international cinema. In 2025 she picked up the Best Actress award at Venice Film Festival for her performance in Sun Hanging at Noon (日掛中天), cementing her rep as one of China’s hottest screen talents. Since then, her image has blended artistic credibility with high-fashion appeal. 

That mix makes her an obvious fit for a premium beauty brand. Unlike the youthful idol aesthetic that dominates many celebrity endorsements in China, Xin’s image leans toward what Chinese media often describe as lěng yàn qìzhì (冷艳气质) – a cool, composed elegance associated with confidence and independence.  

In campaign visuals for the new partnership, Xin appears in a sleek black gown, projecting exactly that poised, understated glamour. As global makeup ambassador, she will front campaigns for Estée Lauder’s cosmetics lines and represent the brand in international marketing and events. 

Estée Lauder Xin Zhilei: A broader shift

The appointment also reflects a broader shift in how global beauty brands approach China. Rather than limiting Chinese celebrities to regional endorsements, companies increasingly elevate them to global roles. The strategy allows brands to resonate more deeply with Chinese consumers while signalling China’s growing influence on the luxury industry’s cultural landscape. 

For Estée Lauder, pairing a globally recognised beauty brand with a Chinese actress whose reputation bridges cinema, fashion and international awards to name a few is a neat piece of positioning — one that speaks to both aspiration and authority in the world’s most closely watched beauty market. 

The post Estée Lauder appoints Xin Zhilei as global makeup ambassador   appeared first on Dao Insights.

For this iteration, nine women from different professional backgrounds will serve as guest speakers, known as Reading Leaders (flashbacks to primary school anyone?). The lineup includes media professional Xue Jian (薛剑), film scholar Dai Jinhua (戴锦华), academic Teng Wei (滕威), writer Yao Emei (姚鄂梅), scholar Huang Xiaodan (黄晓丹), artist Xiang Jing (向京), scientist Liu Ying (刘颖), theatre director Yang Ting (杨婷) and landscape designer Tang Ziying (唐子颖). They’ll be discussing how women express themselves across fields ranging from academia to art. 

But it wouldn’t be a savvy China marketing move without a little localisation. And so, a new element is being introduced: an offline discussion series titled A Tea Room. Instead of traditional author talks, the Reading Leaders will reflect on the books that shaped their thinking and creative work. The idea is to move literary conversation out of traditional formats and into a place that can be engaged with on a more personal level.   

Aesop Women’s Library: Why books? 

For Aesop, literature has long been part of the brand’s identity. The company regularly references philosophy, poetry and essays across its packaging, stores and marketing. The Women’s Library project takes that connection a step further by transforming retail space into a temporary cultural venue, and one that reflects the literary side of the brand’s story.  

The idea dates back to 2008 – back when Aesop cleared the shelves of two Melbourne stores and replaced them with around 8,000 books that customers could take home for free. What began as an experiment and a gesture has since evolved into a travelling stunt gone global.   

In China it was a big hit. Those previous editions in Shanghai and Guangzhou drew in hordes. They didn’t fail to gain that much-needed online traction either. As Jing Daily has it, the Shanghai activation generated more than 2.45 million views on Xiaohongshu, turning the literary project into a widely shared cultural moment. 

That mix of offline intimacy and social media traction is exactly what makes the idea work in China’s retail landscape. A bookstore pop-up might sound niche, but it offers something brands increasingly struggle to create: a physical space people actually want to linger in. 

Retail without retail 

The activation flips the usual retail logic. Instead of pushing product, Aesop temporarily removes it. Visitors aren’t expected to buy anything – they might even leave with a free book. It’s restraint as strategy.  

While heaps of brands out there are turning to a coffee machine or a gait check to increase dwell time, Aesop is saying ‘to hell with it, just come and hang out.’ 

By briefly doing away with consumerism, the brand can be candid about its cultural positioning. There’s no feeling that the philosophy and literature message is just a PR stunt. Doing so builds real, meaningful engagement and gives people a reason to spend great lengths of time in the space. While there, they might even shop.  

The post Aesop turns brand spaces into bookstores with its travelling Women’s Library  appeared first on Dao Insights.

Instead of leaning on generic inspiration, they’re tying women’s stories directly to product design, social issues, and real cultural conversations – from menstruation stigma to creative expression and mental health. Across skincare, tech accessories and personal care, the message is that empowerment works best grounded in everyday experiences. 

Here’s how four brands are creatively approaching International Women’s Day in China this year.    

Libresse: turning ‘Big Moves’ into a statement on period stigma  

Personal care brand Libresse (薇尔) is using International Women’s Day to tackle a subject regularly kept out of public view: menstruation. The brand’s campaign, titled Celebrate Every Big Move Women Make, transforms a product message – freedom of movement during that time of the month – into a broader cultural statement.  

Subway ads across Shenzhen and Hangzhou carry bold copy encouraging women to claim space and reject social expectations. Lines such as ‘If there isn’t a seat at the table, bring your own chair’ reframe everyday ambition as something women shouldn’t apologise for.  

It builds on Libresse’s wider strategy, which has included campaigns like Menstruation Doesn’t Need to Be Hidden and even a Menstrual Emotion Museum.  

CASETiFY: turning tech accessories into creative canvases  

Lifestyle tech brand CASETiFY is celebrating International Women’s Day by spotlighting female creativity. Under the campaign theme Inspired by Her, Where Creativity Blossoms, the brand invited three creators – a yyNoyy, XiaoAnnn, and Alex绝对是个妞儿 – to interpret the idea of imagination through different creative mediums.  

Their work feeds into new product collaborations and storytelling across CASETiFY’s accessories ecosystem, positioning phone cases and tech gear as canvases for artistic expression. The brand is also upgrading its customisation tools, introducing new filters and AI-assisted design features alongside the return of its nostalgic grid photo case format.  

NIVEA: Reframing identity pressure through real stories  

Skincare giant NIVEA (妮维雅) is leaning into storytelling with a campaign celebrating what it calls unordinary women. The brand follows three Chinese women – entrepreneur Yang Tianzhen (杨天真), comedian Xiaolu (小鹿), and creator Yanzhen INKY (彦真 INKY) – as they reflect on the pressures of ambition, public expectations and identity labels.

Each story carries the same conclusion: life improves when women allow themselves a little less pressure and external judgement. That narrative links neatly to product messaging for NIVEA’s 630 Dual-Effect Serum, positioned as a solution to skin concerns caused by modern life’s stresses.  

By pairing emotional storytelling with their usual scientific proof points – including a 28-day spot-reduction study with SGS – NIVEA bridges brand values with product credibility.    

Guyu: Expanding skincare into emotional care  

Chinese skincare brand Guyu (谷雨) is broadening the conversation from skincare to emotional wellbeing. Its Women’s Day campaign line, Her Feelings Shouldn’t Require Compromise, paints emotions as signals that deserve attention rather than suppression.  

The brand released a limited-edition gift set designed for relaxation, including a sleep spray and facial steaming towel. But the campaign extends beyond products. Guyu also launched a year-long women’s psychological support hotline in partnership with China Women’s News and the Beijing Happiness Public Welfare Foundation.  

Meanwhile, collaborations with podcast platform Xiaoyuzhou bring discussions about independence, growth and emotional health into public conversation. 

The post How brands are marking International Women’s Day in China  appeared first on Dao Insights.

The approach has turned its films into something closer to social commentaries than traditional skincare advertising. Real stories, cultural tension, and emotional honesty sit at the centre of the narrative. 

The brand’s latest campaign featuring comedian and actress Jin Jing (金靖) continues that tradition. The film explores ambition, workplace anxiety, generational conflict and identity after motherhood – themes that echo through the lives of many Chinese women today. The approach resonates. To understand why, it helps to look at how SK-II built that strategy in the first place.  

The turning point: Marriage Market Takeover 

The modern phase of SK-II’s China marketing began in 2016 with its now-famous, then-controversial, Marriage Market Takeover campaign. In many Chinese cities, public parks host marriage markets where parents advertise their unmarried children on paper posters. Women over their late twenties are often labelled shengnü(剩女)– literally ‘leftover women’ – a term loaded with social pressure. 

SK-II intervened directly in that space. In Shanghai, the brand replaced the usual parental ads with large portraits and personal statements from single women speaking about their lives and choices. 

A documentary film captured the reactions of parents and daughters encountering the installation. The campaign spread rapidly online and sparked widespread discussion about marriage expectations and women’s autonomy in China. For SK-II, the moment was transformative. The brand had moved beyond beauty marketing and into cultural conversation.  

From campaign to platform: the Change Destiny era 

After the success of Marriage Market Takeover, SK-II expanded the concept into a broader brand platform called Change Destiny. Once again, the series tackled themes that sit at the centre of modern Chinese womanhood: marriage pressure, age anxiety, career ambition and the difficult balance between family expectations and personal goals.  

It’s not polished advertising. Rather, the films continued to lean on documentary storytelling and real experiences. The result felt less like a brand message and more like a cultural dialogue. 

In a beauty market dominated by product claims and celebrity endorsements, that emotional literacy made SK-II a standout brand. It had positioned itself as something rare in the category: a company that appeared to understand the social realities shaping its audience. 

SK-II China marketing: the shift toward authenticity 

In recent years, SK-II’s messaging has subtly evolved. Earlier campaigns framed women’s lives through external pressures – family expectations, marriage norms, and societal judgement. More recent films focus instead on internal experience: emotion, identity, and self-acceptance. 

Campaigns such as Bare Skin, Bare Soul shifted the conversation toward authenticity, arguing that real beauty comes from embracing imperfections rather than correcting them. 

The latest campaign featuring Jin Jing continues that trajectory. Instead of dramatic social conflict, the film presents smaller, more personal tensions: workplace self-doubt, generational misunderstanding between mothers and daughters, the shifting identity that comes with motherhood, and the noiseless discomfort of ambition. The message is simple: happiness is not the only acceptable emotion. Women should be free to experience more than that. 

Why the SK-II China marketing resonates 

The strength of SK-II’s approach lies in smart cultural precision. China’s rapid economic rise has transformed women’s lives in a single generation. Education levels are higher, careers are more accessible, and personal ambitions have expanded. Yet expectations around marriage, family, and social roles remain deeply embedded.  

The result is a society negotiating between tradition and modernity. SK-II’s campaigns play on that tension. Instead of selling an idealised future, the brand reflects the emotional realities women already experience. That shift – from aspiration to recognition – builds a rare kind of connection, turning a skincare brand into a participant in China’s broader conversation about identity and autonomy. 

The post How SK-II turned social pressure into one of China’s most effective beauty marketing strategies  appeared first on Dao Insights.

The concept comes in the form of a co-branded gift set, but the product is only half the story. The framing leans heavily on what the campaign positions as a fisherwoman spirit – a mix of endurance, practicality and emotional steadiness shaped by a life at sea. It’s a notable shift from the high-gloss, symbolism heavy approach that typically dominates Chinese New Year marketing.  

The physical set reflects that intent. Items include a handwoven fishing net bag, fabric storage pieces, skincare products and single serve coffee – all tied loosely to coastal materials and routines. Rather than overdesigning the experience, the brand keeps things tactile and referential, letting texture and origin do most of the work.  

Where Herbeast pushes further is narrative. The campaign spotlights women across three generations in Minnan, using documentary-style storytelling to anchor the release in real lives rather than abstract symbolism. Craft, writing and survival become the through lines – not as grand statements but as accumulations of small, repeated acts.  

Why the Herbeast Balangyu Coffee collab doesn’t need to be flash

For a category driven by mood and metaphor, this is quite a literal turn. And that’s the whole point. By rooting this campaign in regional culture and female experience, Herbeast trades spectacle for specificity. In a holiday marketing cycle crowded with ads and drenched in product pushes, that’s the kind of restraint that gets you noticed. 

The post Herbeast taps Minnan fisherwoman spirit in Balangyu Coffee collab  appeared first on Dao Insights.

• #MultipleBrandsRespondToSudanRedFindings# gets over 5.3 million views on Weibo

Sudan dyes are synthetic colourants used in plastics and lubricants, not cosmetics. The International Agency for Research on Cancer (IARC) classifies Sudan I–IV as Group 3 carcinogens, and China’s National Medical Products Administration explicitly bans their use in beauty products, potential toxicity and long-term health risks being the point of concern.

Dad Lab’s tests traced the contamination to raw-material blends containing herbal extracts allegedly supplied by Singapore-based Campo Research (S) Pte Ltd, which has not commented publicly. Industry reports estimate as many as 800 products across 400 brands could be implicated.

On Weibo, the hashtag #MultipleBrandsRespondToSudanRedFindings# (#多品牌回应产品检出苏丹红#) has attracted over 5.3 million views, with consumers posting ingredient lists and refund screenshots in a grassroots hunt for answers.

Brands including Florasis (花西子) have reportedly withdrawn or delisted affected items, while some consumers have complained of refused refunds, fuelling frustration. Retailers and e-commerce platforms have issued statements pledging product audits, and several listings appear to have been temporarily removed pending verification.

The timing of the Sudan Red safety scandal could hardly be worse. As the world’s largest online shopping festival hits full swing, a controversy better confined to chemistry labs has spilled into China’s biggest consumer moment. It’s not a great look for beauty companies. Perhaps worse, the scandal could put the market right under the noses of regulators – an undeniably necessary move.

That’s only speculation at this point. We can add to the specualtion that China’s beauty companies are likely haemorrhaging Double 11 sales. If you’re looking for something more concrete, it’s a safe bet to say that this is the biggest reputational hit China’s beauty industry has taken in a good long while.

The post Sudan Red safety scandal rocks China’s beauty market ahead of Singles’ Day appeared first on Dao Insights.

How do you decide which trends are worth turning into products or campaigns, and which are better left alone? 

At Judydoll we work both with data-driven insight and our expert intuition. Because we have a team that is very creative, following trends, we can always be on the frontier of what’s hot.  

For trends that are worth turning into a product or campaign, I would say we really look for signals that go beyond viral value. We are more about, you know, how a customer could resonate with the trend and if this trend is really tackling a problem or a pain point for the consumer. Then we leverage the trend and inject a little innovation into it. I would say it’s about selecting the trend that would fit our target group of consumers.  

Besides astute Gen Z marketing, Judydoll is known for its fast product cycles. How do you balance reacting quickly while maintaining creative integrity?

First of all, we have very, very consistent, straightforward guidance and that’s our brand philosophy. I always say that the foundation is fixed but the expression is fluid. So, no matter how fast we react to the trend, no matter how fast we’ve been launching new products, the outcome will always feel very similar.  

And then second, I would say that we have very strong in-house innovation. The product development team is full of creative people, so is research and development, and our in-house lab too. In the end, it comes down to people. Of course, there’s a lot of Gen Z in the team as well. That really helps with knowing what’s making our target audience tick. They also bring a lot of freshness to the creative process.  

What makes an IP or a partner feel like a natural fit for Judydoll’s tone and audience? What’s a good collab, viral or long term? 

A good collaboration should feel like one plus one is equal or even bigger than two. It should also feel like a surprise to the consumer and the consumer should feel that it makes perfect sense. That’s always the balance we try to keep whether it’s a shared value, similar aesthetic or the same goal when it comes to boosting voice and connecting with the consumer. 

Collaboration should build long-term brand equity as well. Back in 2021 we had a collaboration with Popmart, and that was when Popmart wasn’t the kind of hit that they are today. We felt like it was a natural fit because they’re always trying to tell the story of like fun, no big deal, just small things can create happiness in life as well. And as for our brand, we are always trying to convey the fun, the creativity, behind the makeup. That kind of shared value is perfect.  

In your experience at Judydoll, what do you think most clearly sets China’s Gen Z apart in how they consume, express themselves and relate to brands? 

Gen Z are super different. They’ve moved from being a consumer to becoming a pro-sumer. When it comes to shopping they are pros [laughs]. They’re incredibly savvy. They know everything from the technology behind it to the ingredient. They have expert KOLs reviewing the products, they even discuss indirect elements like packaging. They want something that actually solves a problem, but they also want something that they’ve never seen before. 

As a brand we really appreciate that because traditionally it was always very top down – you talking to the consumer. Nowadays Gen Z talk about brand connection, they look for something closer to their identity. This means that they do have more insights, meaning they do have more opinions and they drive more innovation.  In the end, it benefits us all, as it brings the whole industry to the next level. 

How much is individual identity playing into this? 

Chinese Gen Z are really diverse. I don’t mean that in the western sense, as in race or nationality. In China, that means there are many, what you could call ‘tribes.’ They all have different tastes in lifestyle and different perceptions of beauty. Some are very into travelling nowadays, some of them are very into, like, the gym aesthetic. It’s a challenge for brands because you need to think of a way you can really tap into those circles and how you can really speak to those groups of consumers with the right product, with the right campaign, and with the right approach. 

How does Judydoll think Gen Z responds to traditional beauty ideals versus the self-expression? 

Gen Z is becoming more and more self-expressive. This is for sure. I also think they’re trying to express themselves in a very authentic way. 

And when it comes to their connection with brands, they definitely look for more authentic emotional connection and I know that this is definitely not new to you. All the brands are talking about emotional connection, you know, like how storytelling should speak about the authentic stories and this and that. 

As China’s youth culture evolves, what emerging subcultures or digital spaces are you watching most closely? 

We don’t really constrain ourselves to a certain platform or to a certain subject of culture because as I said, there are too many tribes right now in China. I think a better way and also a smarter way for us as a brand is that we watch closely and co-create, bringing the consumer along on the journey of creation with us.  

As you may know we are actually also expanding globally as well, so we don’t even really constrain ourselves to one market’s trends either. We’re open to trends from the western world and we are watching closely. 

The post Marketing beauty to China’s Gen Z – an interview with Judydoll’s Julie Liu   appeared first on Dao Insights.

Since launching in 2016, Judydoll has built its name on accessible, colour-driven beauty, an inclusive price point and marketing that hits deep with China’s Gen Z consumers. Over the years, the brand has grown from an online darling to a physical retail presence.  

While they’ve been present in overseas markets, selling through other stores, the Judydoll Singapore location marks their first dedicated store abroad. It comes off the back of sales at 50+ retail locations in the Lion City, a sign of the brand’s momentum.  

This month in Europe, Judydoll joined hands with fellow Chinese brand JOOCYEE to launch at UK retailer Skin Cupid – a platform known for championing Asian beauty labels. Meanwhile, in Southeast Asia, they’ve opened two new shop-in-shops at Watsons Indonesia. The placements are notable: only the top ten brands in the Watsons network typically receive such positioning. 

Judydoll’s fast-paced expansion reflects confidence among China’s new-generation beauty brands, one that sees them exporting aesthetics rather than importing trends. With its vibrant packaging and data-driven approach to colour marketing, Judydoll is now positioning itself as part of a new wave of C-beauty going global. Next stops could include Thailand and Malaysia, where both youth demographics and retail ecosystems align neatly with its bright, accessible identity. But we doubt the brand will be content to stop there.  

The post Judydoll hits 100 China stores and expands abroad with Singapore store debut  appeared first on Dao Insights.

• Tmall hosts its 11th Beauty Awards, going viral for the celebrity participation again.
• With livestreams from streamers and brands, the event is shown as a collaborative effort.
• With the platform nurturing the brands, they might be on track to see off the “white label” threats.

Around the end of August, many celebrity topics swept Weibo, from actress Zhong Chuxi’s make-up to singer Zhou Keyu’s all-black dress code. These viral topics all stemmed from a single event: the Tmall Beauty Awards 2025.

This awards show was the 11th event from the e-commerce platform and has been an annual trend-setting moment in China’s beauty world for over a decade. It is often called the “Beauty Oscars” of China. This year, Tmall even gave a theme to the event: wind-making (造风), meaning trendsetting, as wind is often used as a metaphor for trends and styles.

The brands

This year sees a triumphant return for bigger brands. After several years under siege from the “white label” competitors, established global and domestic brands are finally making a comeback. Big brands such as Maogeping, MAC and L’Oréal also hosted fashion shows to showcase their looks at the award event.

The definition of white-label goods has shifted from its original meaning in English as private label owned by retailers such as Amazon Basics or other OEM products, to OEMs’ own labels. These smaller labels were pushed heavily by platforms such as Douyin and Taobao and were presented as affordable alternatives with high value for money. However, the white labels that made it into the top 20 gross merchandise value (GMV) on Douyin had an average lifespan of 8 months. This meant that brands were consistently under threat from new white labels, but these labels are often quickly replaced by new ones.

As it became unsustainable for white labels, brands began to grow steadily. C-beauty brand Maogeping saw its member GMV rise 75% with a high repurchase rate of 41%. Maogeping grew 30% in the past year and is forecasting revenue of over 5 billion RMB (700.07 million USD) at the end of this year. Some white labels, like CENTSO (三资堂), gradually built themselves to become established brands by entering Tmall.

The Awards

For the actual awards show, Tmall brought a simultaneous livestream on 3 channels. They were connected with the theme of the offline gala, but streamed on the Tmall official livestream channel, top streamer channels, as well as brand livestream channels. The many channels appeal to different viewers’ needs. By partnering with 6 major channels, such as Li Jiaqi’s, Tmall can reach as many shoppers at the same time as possible.

Tmall handed out awards such as the Top Brands award, the New Star Brands awards, the Top Items and the Top New Items awards. However, for Top Brands, there wasn’t too much change other than that Pantene took the place of Whisper (Always) on the list among Proya, L’Oréal, Lancôme, and Usmile, etc.

The people

With celebrities such as Zhong Chuxi, Ye Tong and Lin Yun, the event also invited over 30 celebs, influencers and streamers to the awards show. The star power from these guests caused fans to engage with the 3 Tmall Weibo posts over 310,000 times. The hashtags such as “Tmall Beauty Awards” and “the beauty Oscars” had over 40 million views in a week and 130,000 comments, and 630,000 engagements. With the involvement of celebrities, influencers and streamers, Tmall brings a sense of co-creation to the awards.

This ties back into the “wind-making” concept from the platform, as Tmall is trying to make waves with the brands and creators. In the first half of 2025, Tmall had over 500 brands selling over 10 million RMB (1.4 million USD) and over 5,000 items selling over 10 million RMB. Over 500 livestream channels grew at a double-digit rate. Tmall, with the awards, is making its statement to foster and nurture brands in these uncertain times.

Need to boost your China strategy? Dao Pro delivers bespoke insights on marketing, innovation, and digital trends, direct from Chinese sources. Find out more from our Dao Strategy Team here.

The post What’s new at the Tmall Beauty Awards this year? appeared first on Dao Insights.