Reporter: How do you define the two concepts of fashion and fashion in the design concept of your company's products?
Wang Fu: Just like what you see, consumers believe that they are the same. It turns out that ordinary people define fashion as a popular fashion, that is to say, as a company, we have to do a hundred-year-old shop for a long time, so we will not do very short things. Each product has a market life cycle. It turns out that we have done a lot of things that modern and young people think are fashionable, but when such things are often brought to market, the market life cycle is short and fleeting. Then the input and output of our dealers are not proportional. However, as a manufacturer, it must be responsible to the dealer. Others have not earned money, are outdated, just recovered the cost or have not recovered the cost, and they have been demolished. What we are doing now is classic fashion. Many people have to have cultural connotations about things they do, and have inner things to be able to last. After all, it is a business to make money, and hope is a profit. What kind of business can you follow? I think that with such a company, with such products, and with such brands, this is our position. Now the dealer wants to open a store. It doesn't matter how much it costs to get the goods, because the goods can be sold. It’s all money when it’s on, after it’s broken? Garbage, right? You didn't even make money from the renovation, and even the money for the lights and the money on the floor didn't make it back. So I think that the so-called fashion we are now different from what you understand, we will not do fashion, we will do classic fashion, timeless fashion, long life cycle on the market. Therefore, it is often this kind of culture and ethnicity that is classic, long-lasting, world-wide, and universal. Because this is not what category we call it, what kind of category it is, it is culturally rich, and it is a culture that has been formed for many years.
Reporter: But this cultural heritage is in China. What kind of level should it correspond to?
Wang Fu: What cultural level is said now is not very good. Because there are now more people returning home, there are more people traveling abroad, and there are more people traveling on business, so now you don’t have to learn what it is, but how wide your knowledge is. How high is the cultural heritage.
Reporter: Which level do you belong to the consumer group? It should be related to his academic qualifications and resume.
Wang Fu: So it means that the returnees, the business people who fly in the sky all the year round, the middle and high-level management of the enterprise, and the officials of the government departments are actually the main high-end people. We not only have European neoclassical, American neoclassical, including Chinese neoclassical. After joining the Chinese culture, this classic can be combined with Chinese consumers and consumer ideas, and is more easily accepted by the Chinese. If it is too pure, as big as American things, the Chinese can't sit up. American bed, bed screen is higher than the door, you are very depressed when you fall asleep, but the Americans are tall and very burly, he can feel the sleep of the bed. Therefore, we have combined China's national conditions and made some adjustments.
Reporter: What are the main series of new products brought by Yaobang?
Wang Fu: Our current products are mainly divided into three categories. The first one is Volkswagen's panel furniture. We have been doing this for a decade or two, and it should be said to be a college student. There is also a European neo-classical, which we have been doing for four or five years, should be regarded as junior high school students. Then this kind of solid wood classical furniture, or neo-classical furniture, we started from the previous year, it should be primary school students.
Reporter: Preschool?
Wang Fu: Yes, we also want to say that it is a primary school student. In terms of production process, we may not be completely mature, but we have this technical power. Second, the grasp of culture is mainly in the grasp of designers. In the past, we were a designer designing many series, but there are often deviations. Why? Because this is just like painting a horse with Xu Beihong, you want him to paint landscapes and he can't paint well. Every designer is a painter, he can only have expertise in one aspect. You can't say that Gong Xiaobin is going to play football. Zheng Haixia is going to play volleyball. He can't fight. He can only have one specialty. Our current development is the same. If you want to design a certain kind of product for a certain type of designer, you can make it fine.
Reporter: It is like us, including the example of college students, high school students, junior high school students, and elementary school students. The products developed in a certain category will also train a group of new designers, right?
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