While China may be growing at a pace unseen even in post-war Japan (once a leader in luxury goods consumption but now left far behind by their neighbours), fashion has long been at the core of China’s aesthetic, in spite of its Communist heritage, and a major influence on what it says about the individual.

Empress Cixi (the final imperial empress who ruled before the nationalists came into power) placed a huge amount of importance on the fashions of her court. Her own dresses required 450 craftsmen to work on them.

Eileen Chang, the revered pre-Communist era author of Lust, Caution and The Golden Cangue, wouldn’t pen a single page without some reference to dress, accessories or hair.

Appearance matters – from social expectations, using clothing to show respect to the company you are in, showing an artistic sensibility and an appreciation of craftsmanship and creativity – so it’s little wonder the Chinese choose Western heritage brands. This is a nation that for decades was linked to the cheap and plentiful ‘Made in China’ tag – quality and tradition are now of prime importance. In fact, in a Huron and Industrial Bank survey of wealthy Chinese, 40% said a long history is an important characteristic of luxury brands. No wonder Chinese shoppers flock to Burberry, Mulberry and Nicole Farhi in Harrods.

China is now home to enormous flagship stores: there are 42 Cartier, 15 Hermès, 42 Gucci, 57 Burberry and 12 Chanel stores in mainline China. Italian luxury brand Bottega Veneta launched its flagship in Shanghai in May 2012 and Chanel is currently holding an exhibition in the Zaha Hadid-designed Guangzhou Opera House. Luxury brand conglomerate PPR (owners of Gucci and Saint Laurent) recently acquired Chinese jeweller Qeelin. Everyone wants a piece of the Middle Kingdom.

Even the Beckhams were rumoured to be moving east, such is the lure of 1.5bn consumers of Brand Beckham. Beauty giant P&G has set up a centre of excellence in China, which is its second largest market behind the US, while Estée Lauder established its first innovation centre in Shanghai in 2011. This is a major turning point, suggesting that in future, China will be driving beauty trends rather than looking to the US or Europe as it has in the past.

The recent slew of brightening serums and extensions on lines from Estée Lauder, Clinique and every other major brand in the beauty hall was driven solely by the Asian market, catering to the pale, flawless complexion that is most desirable among Asian cultures.

Looking East

The axis of the British fashion industry has also turned its attention eastwards, responding to the sheer power of the Chinese consumer. The London Show Rooms – an initiative which promotes British design talent abroad and helps to secure new export business through events targeting press and buyers in key cities globally – went to Hong Kong for the first time in 2012 and will be returning again this year to give Chinese buyers first dibs.

Of the 185 models Armani put out in his Beijing fashion show last June, two thirds were Asian and this year, Eastern influences are dominating the silhouettes of spring/ summer 2013 with kimono sleeves and obi belts the details to watch out for. Red – the Chinese colour of luck – is also making a return both to the high street and the catwalk. Put simply, Chinese dominance is having a direct effect on our wardrobes.

Unfolding Trend

Miuccia Prada created clearly defined folds that harked back to intricate origami shapes, Dries Van Noten had the girls draped in ornate silk robes with delicate embroidery. Meanwhile Haider Ackermann’s minimalist aesthetic recalled pure white samurai robe tops and a top knot that made you think of the warrior going out to protect the realm. The love affair with the east is deep, from Karl Lagerfeld staging a show for Fendi on the Great Wall in 2007 to designers eager to listen to every word of their most important customers.

“Five years ago, Chinese girls were all buying major brand names with a logo. But they have become far more discerning in their tastes,” says Dora Fung, New York editor of Vogue China, who worked on the title’s launch in 2005.

“They have the Burberry trench, the Hermès Birkin and the Fendi Baguette. Now it’s about buying unique pieces. Jewellery purchases don’t just stop at Cartier, these girls want exquisite vintage pieces that have significant value, like an 18th-century bracelet that is worth a lot more and has individuality.” That means a hunt for a unique piece at Grays Antique Market in Mayfair rather than a diamond Rolex. The emphasis is now on cool as well as luxe.

London’s cachet as the home of quirky individualism cannot be bought. British-based labels are gaining a global platform thanks to the Chinese consumer’s desire to carve a more singular identity. Women’s clothing from the Fifties to the Seventies was functional and generally limited to blue, grey and khaki. The first ever fashion show in China took place in 1979 (in contrast, “fashion parades” started in Paris couture salons in the 1800s).

China’s young women are now striving to stand apart from the logo-heavy shoppers on Beijing’s high streets; Mary Katrantzou, Christopher Kane, Roksanda Ilincic and Erdem are the labels of choice. In fact, money pouring in from the East has allowed these relatively small designers to expand with incredible speed. The ultimate reflection of China’s love of London’s aesthetic is illustrated by the number of emerging designers who have chosen to train here; Ping He and Huishan Zhang being just two upcoming names.

Newcomer Ping He is revered in northern China but also looks to London for inspiration and as a platform to launch her career. She studied Alexander McQueen and Vivienne Westwood religiously when she was a fashion student. “It was the alternative subcultures, like the punk scene, The Smiths and David Bowie that I was always fascinated by. London is a hothouse for street style and individualism and I think the Chinese woman is now ready for this.”

China: The shopping superpower