In 2024, I wrote about Alpine White, the Swiss oral care brand founded by Alexander and Reto Wälchli, and its early steps into China: a flagship store on Tmall Global, presence on Xiaohongshu, WeChat and Douyin, and a product registration process that was still underway. Two years on, the picture has changed. The brand, sold in China under the name 乐瑞白 (Lè Ruì Bái), now sits in some of the country's most exclusive supermarkets, at 189 RMB the most expensive toothpaste on the shelf. Behind that shift is Ma Shiyu, who leads Alpine White's APAC business. We spoke shortly after this year's China Beauty Expo. What followed was one of the most candid conversations I have had about what it actually takes to build a premium Swiss brand in China: why Alpine White moved from cross-border e-commerce into general trade and physical retail, where the surprising money sits, and what she would tell every Swiss founder before they book a booth at their first trade fair. This conversation is part of the Think East series Swiss Brands in China, spotlighting successful Swiss brands in the world's most demanding consumer market.

In China’s luxury market, a flagship now competes with museums, restaurants and pop culture events for the same two hours of a consumer’s afternoon. The brands winning that competition are not playing by European rules. The store has become one of the most contested ideas in luxury. In China, it now carries a workload that many European flagships still do not. It has to sell, of course. It also has to stage a world, generate traffic, travel across social media, and justify why a consumer should spend an hour there before deciding whether to spend anything at all. That shift is visible in Shanghai. Louis Vuitton opened The Louis in June 2025: a 30-meter, ship-shaped structure designed by Shohei Shigematsu of OMA, housing exhibition space, retail floors, and a café on Nanjing Road. Prada turned Rong Zhai, a restored 1918 mansion it has owned since 2011, into a permanent hospitality address with Mi Shanghai Prada Rong Zhai, its first standalone dining space in Asia, with Wong Kar Wai commissioned to design the interior. Penhaligon’s chose Shanghai for its first fragrance exhibition anywhere in the world, in April 2025. The message is consistent: China is not receiving a standard flagship strategy with local adaptations. It is being used as the testing ground for a different, grander format altogether. The timing is not accidental. Bain estimates that China’s personal luxury market fell 17–19% in 2024 and a further 3–5% in 2025, before returning to modest growth in 2026. Chinese consumers still account for approximately 23% of global luxury demand, per Bernstein. In a market like that, brands do not retreat from visibility. They rethink what visibility has to do. What The Consumer Expects Bluebell Group’s 2025 consumer research found that 96% of surveyed mainland Chinese respondents said experiential value now outweighs product ownership in how they define luxury. 46% want immersive, brand-led experiences in store, with staff actively involved in storytelling. The same study found that 92% prioritise the quality of the product over brand name, and 88% say higher prices are justified when the underlying craft is evident. The appetite for theatre is real. So is the demand for substance underneath it. What a luxury space is expected to deliver has changed accordingly. Narrative density comes first: consumers expect an entire world. Social legibility is equally non-negotiable: the space needs to circulate on Xiaohongshu or Douyin, because store traffic and digital visibility now feed each other directly. And in Asia, Bluebell found that in-store service standards are perceived as higher than elsewhere, which raises the baseline for every international brand operating there. The experiential minimum is a moving target. The New Flagships Louis Vuitton's ship is the clearest statement of the new model. The structure spans approximately 1,600 square metres. Entry is managed through the brand's My LV WeChat mini program: even free admission is controlled. The early returns suggest the model works. According to Wen Wei Po, 60% of sales at The Louis come from new clients – a statistic that directly addresses the industry's central question of whether experience-driven flagships merely entertain existing customers or actually expand the customer base. The impact extends beyond the store itself. In its first four months, the exhibition drew over 360,000 visitors, according to Shanghai government data. Daily foot traffic at The Louis has reached 20,000 on peak weekends, and the surrounding commercial district has seen a clear lift: the adjacent Xingye Taikoo Hui mall recorded a 41.9% increase in retail sales during the first nine months of 2025, while other surrounding businesses reported sales doubling. The ship has effectively become an anchor, transforming Nanjing Road into a destination where a luxury flagship now functions as a catalyst for an entire neighbourhood. Prada’s Rong Zhai shows a different register. Commissioning the iconic Hong Kong filmmaker Wong Kar Wai to design Mi Shanghai Prada Rong Zhai signals where Prada is locating cultural authority in China: not in European craft narrative, but in Chinese creative identity. The space weaves art, architecture, food and time into a single address. It seems quieter than The Louis, but no less deliberate. According to the Prada Group’s full‑year 2025 earnings, Asia Pacific retail sales reached $1.85 billion, an 11% increase year-on-year. This remains the most relevant proxy for Prada’s performance in Greater China, including the period when the Mi Shang Café at Rong Zhai was operational.