The four largest furniture production bases in China's furniture industry are widely recognized as Xianghe (Hebei), Shunde (Guangdong), Wuhou (Sichuan), and Likou (Jiangsu). Once ranked second, Likou now holds the fourth position. In Likou International Furniture City, there are over 5,000 companies with annual output values exceeding 10 million yuan, yet fewer than 100 of them possess original design capabilities.
As part of the third Suzhou Chuangbo Expo, the China Furniture Original Design Competition was recently launched. This event aims to highlight a pressing issue in the industry: why Chinese furniture often lacks originality. Through competitions and exhibitions of award-winning works, it showcases the potential of original design to break through the development bottlenecks of the furniture sector.
How can China, a major furniture producer, become a true powerhouse in furniture design? The competition is hosted by the organizing committee of the third Suzhou Chuangbo Expo, organized by the Suzhou Cultural and Creative Industries Federation, and executed by its Home Furnishings Branch. This branch directly faces Likou International Furniture City, a hub that has grown significantly over the past two decades.
Likou Furniture City emerged from the rapid growth of China’s furniture industry. It started in the 1970s when local producers began selling sofas and metal furniture, gradually becoming a center for furniture production and trade. By 1992, it had built a 6,000-square-meter trading market called Likou Furniture City, which gained popularity with the slogan “Likou Furniture City, the No.1 Furniture City.†Within a few years, it became the largest distribution center and consumer market in East China. In 1998, it was officially approved as Jiangsu Provincial Likou International Furniture City.
Since the 2000s, the city has seen massive investments, reaching 5 billion yuan, with nearly 1.5 million square meters of construction. Over 5,500 businesses operate there, generating annual sales of 20 billion yuan. While this growth reflects China's rise as the world’s largest furniture exporter, it also highlights an embarrassing reality: a lack of originality and widespread copying.
Many entrepreneurs still believe that without design, they can still secure orders. However, the facts tell a different story. With homogenous products and price wars, the industry struggles to move beyond low-end manufacturing. Foreign consumers often associate Chinese furniture with cheap goods, despite its high volume. China produces over 220 types of industrial products, but most are low-end, with labels of low-tech content and low added value.
Original design must start with changing mindsets. In Likou, out of 5,000 companies with annual outputs over 10 million yuan, less than 100 have original design capabilities. Some entrepreneurs understand the importance of design, but many still prioritize cost over creativity. As the market evolves, traditional showroom models face challenges from online sales, especially as younger generations demand more style, personality, and innovation.
Some companies have successfully embraced original design. For example, Huahong Mahogany Furniture transformed its product line, doubling its output from 100 million to 200 million yuan. Junnuo Home Furnishing invested heavily in R&D, leading to multiple technical patents. MiBiao Furniture collaborates with design schools, earning recognition as a “dark horse†in the industry.
Building a creative design platform is urgent. The China Furniture Original Design Competition aligns with the Expo’s theme, aiming to promote original design and encourage collaboration among enterprises. The goal is not just to display but to foster a culture of innovation.
Innovation requires investment, but Chinese enterprises spend less than 1% on R&D, far below developed countries’ averages. High costs and limited resources make it difficult for many to invest in original designs. To address this, the Wenchuanglian Home Branch hopes the government will support the industry by creating a creative design center and copyright service platform.
As the birthplace of Ming-style furniture, Suzhou has a rich heritage in design and craftsmanship. With its strong economy and cultural depth, it should create a platform for designers, companies, and talent to collaborate. Professor Qin Huaiyu emphasizes the need for copyright talent cultivation and R&D teams to boost original design and enhance the status of Likou’s furniture products.
In conclusion, fostering original design is crucial for China to transition from a furniture giant to a design leader. It requires not only innovation but also long-term commitment and support from all sectors.
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