Now, if you ask what kesi is, many people will probably be confused and don’t know what it is.

However, if we talk about the dragon robe worn by the emperor in ancient times, it would be known to everyone.

Because the dragon robes are all made of kesi, it can be seen how precious this fabric is.

Kesi is a treasure among traditional silk artworks in my country, and it is also a very beautiful and mysterious existence.

In addition, kesi products are also a silk fabric that is extremely decorative and ornamental.

Since the Song and Yuan dynasties, kesi has always been the royal fabric for royals. It is very common to weave the clothes of emperors and empresses, and it is not surprising that it is common.

The weaving process of kesi products is complicated, but what you pay will eventually pay off. Because the finished products made by kesi are exquisite and lifelike, they are very popular among collectors.

However, the fine kesi products that have been passed down since ancient times are extremely rare due to the complex weaving process. Therefore, kesi products are famous for their past generations of "one inch of kesi, one inch of gold" and "the saint of weaving".

According to historical facts, the kesi technique originated in the current West Asia region.

Around the Western Han Dynasty, the "kemao" technology (that is, today's kemao technology) was introduced from ancient Egypt and West Asia. With the increasing maturity of mulberry silkworm weaving technology in the Central Plains, the Tang Dynasty began to use silk as the warp and weft thread, opening up the road to the development of "kemao".

The weaving of kesi silk that emerged in the Tang Dynasty reached its peak in the Song Dynasty, developed and matured during the Yuan, Ming and Qing dynasties but gradually weakened. It was not until the establishment of Xinhua Kingdom that kesi silk was once again valued.

The development of kesi during the Ming and Qing dynasties lags relatively behind compared with the Song Dynasty.

In the early Ming Dynasty, the government at that time opposed or even banned the production of kesi crafts, so that kesi artists and crafts remained silent for a long time.

By the mid-Ming Dynasty, especially during the Wanli period of the Ming Dynasty, the social class, which became rich in handicrafts and commerce, had a peak demand for artworks, and began to be popular for collecting kesi works with paintings as manuscripts.

The "Wumen Painting School" in Suzhou region inherited the painting skills tradition of the Song Dynasty, laid the foundation for the development of kesi art, and began to adopt a unique expression method of combining painting and kesi art.

In addition, Ming Dynasty kesi appeared on some clothing, making the clothes look more exquisite and delicate.

For example, the robes unearthed from the tomb of Emperor Wanli are large-sized fabrics, as well as python dragon robes, satin, armor, etc.

By the Qing Dynasty, the emperors at that time, on the basis of inheriting the advanced culture of the Ming Dynasty, injected a lot of effort into the field of art and art, reaching a climax during the Qianlong period. Therefore, the categories of kesi items were also very wide, with clothing and religious items.

In the Qing Dynasty, kesi products were all made of kesi and painting, which was unique. At that time, a number of exquisite finished products were created, which was unique. Around the late Qing Dynasty, due to the weakening of the country's power, the great powers of various countries continued to invade and wars of fireworks, and the kesi industry was on the verge of disappearance.

This led to the fact that the crude kesi works were flooded in the market and were just a waste of time, and even the things used in the palace were rare.

Kesi products are the essence and treasure of Chinese silk crafts. They were often used by emperors in the Ming and Qing dynasties, and most of them were monopolized by the royal family. Compared with other silk crafts, Kesi has the dual value of crafts and art.

...

Nowadays, kesi is also a very precious fabric and is expensive.

Of course, compared with golden spider silk fabric, the price is much cheaper.

The positioning of Fusheng Ru Meng is to use the best and most cherished fabrics to create high-end ready-to-wear with the unique oriental charm.

As a new brand, if you want to compete with traditional luxury brands, you must compete with them in dislocation.

You can't compete with others in the advantageous areas, because others have been operating for so many years and have enough experience and dominance in that field.

If you rashly enter other people's territory to compete, you will definitely be in a state of blood.

Therefore, Li Qinghuan and the others decided to think of a way to find a way to fabrics and characteristics.

Do many luxury brands like to use high-end fabrics? Then the fabric I use is more than yours. I don’t need to say anything about my fabrics. Everyone knows that the cost is higher than yours.

Moreover, Oriental Elements has also begun to have a trend in recent years, and major luxury brands have also begun to add Oriental Elements to their new products to attract consumers in the Asia-Pacific region.

Of course, what is more important is to attract China, a newly emerging huge market.

The consumption capacity of Chinese people has been fully proven.

It can be said that many luxury brands are now supported by consumers in the Chinese market.

Some brands have been struggling abroad and cannot continue to operate them. However, after entering the Chinese market, after packaging and bragging, they are sold in top shopping malls openly, and consumers are flocking to them.

According to statistics, almost half of the revenue of most luxury brands comes from the Chinese market, and sales are growing faster and faster.

Major brands have also begun to increase their investment in the Chinese market, investing huge amounts of money to build the largest flagship store in the Asia-Pacific region, the largest concept store in the world, etc.

From this aspect, it can also be seen that these big brands attach importance to the Chinese market.

However, this kind of emphasis is only on the surface, including the use of oriental elements, which is just the oriental element they understand, and does not have the true oriental charm.

After designing those things, they look inconsistent, or they are not rustic or foreign.

However, Chinese people have the habit of hospitality.

Especially in modern times, I have been lagging behind for a long time and have inferiority complex.

When I saw the big brands that were originally high and were willing to bend down to please them, I felt that the national glory was full of national glory and I didn’t care about the embarrassing designs of those brands.

Pay the bill enthusiastically and generously.

Li Qinghuan and the two major designers decided to start from this aspect and compete with those Western big names.

Let the other party understand what is the real oriental charm and what is the real top-level costume!

Li Qinghuan followed Wang Ye for several years and learned one of his style of doing things.

That is, if you don’t do anything, it’s fine.

If you want to do it, you have to do the best!

Moreover, do not fight unprepared battles, be fully prepared before taking action. Once you take action, it will be like a wind blowing away the clouds, leaving competitors unable to resist.

Therefore, Li Qinghuan and the two designers spared no expense in terms of the cost of Fu Sheng Ruo Meng, and were also prepared for publicity and promotion.

Even in the store, it is ready.

When Fu Sheng Ruomeng's debut is successfully held, flagship stores in major metropolitan cities around the world will open on the same day.
Chapter completed!