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From the "suit door" to see the host endorsement clothing market reasons
The "Suit Door" incident highlights the differences in identity among public figures and reflects the commercial profit models driving celebrity endorsements. It also reveals cultural distinctions between mainland China, Hong Kong, and Taiwan. On online video platforms, the cast of *Confucius*, including local actors like Zhou Xun and Zhu Jun, were visibly uncomfortable. Zhou Xun’s expression seemed to say, “What are we even doing here? Zhu Jun is already struggling, why make it harder for each other?â€
In fact, a spokesperson from a local clothing brand once shared an industry insight summarized in four words: “Movie stars are not as good as TV stars, TV stars are not as good as hosts, and hosts are not as good as models and singers.†This is because apparel brands rely heavily on visual appeal, and the image of their spokespeople must be instantly recognizable and impactful.
Movie stars typically endorse products only once or twice a year. If they don’t align well with the product or even contradict its image, the endorsement loses effectiveness. For example, Chow Yun-fat endorsed suits and casual wear after starring in *Crouching Tiger, Hidden Dragon*, *Curse of the Golden Flower*, and *Confucius*. These films had long-lasting audience engagement—often months or even years—so the marketing impact of such endorsements could last.
In contrast, even without formal endorsements, simply providing clothing for a popular drama can yield significant returns. For instance, Jiang Wenli’s role in *Miss Love* and the women’s clothing provider in *Six Cases of Heavy* saw a boost in brand visibility. TV presenter endorsements tend to be more effective than those from TV dramas, as flagship programs often run for years, and the host’s image remains consistent and stable.
Meanwhile, musicians have a different dynamic. Their careers often span decades, and their images are strong enough to sustain long-term partnerships. For example, Jacky Cheung’s endorsements of Sinia, Song Ying, and Wealthy Birds, or Zhou Huajian’s collaborations with Zhuangji, Langsha, and Good News Birds, have been successful due to their enduring fame.
Local clothing brands often prioritize movie stars when selecting spokespeople. However, since CCTV does not open its media platform to celebrities, its hosts cannot appear in ads as prominently as they might in other regions. Additionally, the model economy isn’t as developed, so brands often turn to the performing arts industry, choosing from a wider pool of talent with high click rates.
This entire system reflects not just the commercial interests behind celebrity endorsements, but also the evolving cultural dynamics within the Chinese entertainment landscape.