The rise of 'cultural confidence': how Asian brands are winning the luxury war

For decades, the global luxury industry operated on a simple premise: European heritage was the gold standard. A French maison, an Italian leather goods house, a Swiss watchmaker — these were the benchmarks against which every other brand was measured. The rest of the world was expected to emulate those codes, not challenge them.

That era is coming to an end, or at least is being challenged. The brands generating the most excitement today are no longer trying to pass for European. They're building something rooted in their own cultures, histories, and design philosophies. And the data shows this isn't a passing trend — it's a fundamental reordering of who gets to define luxury.

China: the new architects of luxury

The "guochao" (national wave) movement is not a fad. It is a structural transformation in consumer identity, driven by a new era of cultural confidence among Chinese consumers—particularly the 280 million-strong Gen Z cohort. These consumers are no longer simply seeking to buy into Western narratives of luxury. Instead, they are drawn to brands that reflect their own heritage, rituals, and philosophies.

Laopu Gold stands as perhaps the most dramatic example. The Beijing-based heritage gold jeweller grew its revenue by 221% in 2025, reaching 27.3 billion RMB—placing it second in mainland China luxury revenue, ahead of Hermès. The brand's iconography draws directly from historical symbols — gourds, dragons, Taoist motifs — and relies on handcrafted techniques once reserved for imperial workshops. Its products are proudly, specifically Chinese. In a recent report, HSBC has stated it now believes Laopu has what it takes to become China's first homegrown, high-end brand to compete with the likes of Tiffany and Richemont.

Songmont, a handbag brand priced between 1,000 and 3,000 RMB, posted 90% online sales growth in the first three quarters of 2025, while Gucci's online handbag sales in China fell more than 50%. The brand overtook Coach as the top-selling handbag brand on Tmall during last year's Double Eleven shopping festival. Another homegrown label, Truuzen, claimed the No. 3 spot. Founder Cheng Baohua captured the shift succinctly in previous interviews: "In the past, we were puppets of Western brand marketing. Well-educated consumers have gone through an ideological awakening".

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Image courtesy of ICICLE

It's not just handbags and jewellers. In the world of high-end apparel, ICICLE's cashmere coats cost 8,000–20,000 yuan per piece, yet its annual sales in China surpassed 3 billion yuan, showing double-digit growth every year since the pandemic. Sandriver, a Chinese cashmere brand founded by Guo Xiuling after a decade of working for luxury giants like Hermès, currently sells through prestigious international retailers including France's Le Bon Marché and Neiman Marcus in the United States. By the end of 2025, overseas sales accounted for nearly 40% of Sandriver's total revenue.

The success of these brands isn't about patriotism alone. It's about quality, innovation, and cultural relevance. Chinese luxury brands are not trying to replicate Western heritage. They are constructing their own — and the world is taking note.

India: Reclaiming Craftsmanship

India's luxury revival follows a similar thread. Contemporary Indian jewellery brands are steadily evolving to meet the changing desires of customers, earning recognition alongside global names like Cartier and Van Cleef & Arpels.

The shift is driven by a new generation of self-aware consumers who are less interested in waiting for a milestone to celebrate themselves. They want pieces that balance timeless craftsmanship with everyday wearability and reflect personal identity. Brands like BlueStone, Zoya, and Amrapali are blending traditional artistry with modern aesthetics, ethical sourcing, and innovative storytelling.

The Prada Kolhapuri sandal controversy serves as a cautionary tale for brands that still treat cultural heritage as inspiration to be borrowed, not credited. After receiving heavy criticism for showcasing designs inspired by Kolhapuri slippers without acknowledgment, Prada signed a memorandum of understanding with Indian government organisations to co-create a collection with artisans. The lesson is clear: consumers can tell the difference between genuine cultural engagement and cultural appropriation.

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Southeast Asia: Heritage as a Distinct Language

In Vietnam, Ngọc Thẩm Jewelry, a three-generation family business rooted in the Mekong Delta, has undergone a comprehensive rebrand to position itself for national expansion and global cultural relevance. The brand's positioning is clear: "True luxury is not invented. It is inherited, structured, and elevated." This is luxury defined not by Parisian standards but by regional craftsmanship and family legacy.

In Thailand, ETRO's debut residential project in Phuket trades simple branding for a rigorous translation of its textile heritage into architecture. The project eschews typical resort-style tropes in favour of a specific, sartorial translation of the brand's DNA — a blend of Milanese chic and tropical restraint.

The Strategic Implication

The disruption in luxury isn't AI. It's identity. The brands that will define the next decade are those that understand luxury is no longer about geography—it's about authenticity. Chinese consumers no longer want to buy into someone else's heritage. They want their own. Indian consumers want jewellery that reflects their stories. Southeast Asian brands are creating a design language rooted in place, not imitation.

This shift is structural, not cyclical. The brands that win will be the ones that ask: "How do we look unmistakably like ourselves?" not "How do we look like luxury?" The global luxury industry is entering a new chapter, and the narrative is no longer written in Paris alone. It is being written in Beijing, Mumbai, Bangkok — and Hong Kong — by brands proving that the most powerful luxury statement is identity.

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