Core Viewpoint - The launch of OEZER's 2025 brand strategy emphasizes sustainable growth and innovation in the high-end window and door market, focusing on design co-creation, product iteration, service upgrades, and brand positioning [2][10][12]. Group 1: Brand Strategy and Market Positioning - OEZER, as a pioneer in the high-end window and door sector, remains committed to its market positioning and brand mission [6]. - The company is entering a "structural growth" phase as the cyclical growth of the window and door industry comes to an end, aiming for sustainable high-quality development through internal innovation [8]. - The 2025 strategy will focus on four core areas: design co-creation, product iteration, service upgrades, and brand positioning [10]. Group 2: Product Innovation and Collaboration - The first quarter of 2025 saw the introduction of seven new products that embody the core concepts of "green low-carbon, design innovation, and intelligent ecology," showcasing OEZER's commitment to creating a comprehensive ecosystem for windows and doors [13][15]. - OEZER collaborates with strategic partners to launch the "Global Supply Ecosystem Initiative," aiming to build an efficient supply chain system to support ongoing business development [18]. - The company has a history of cross-industry collaborations in design, recently announcing a partnership with renowned designer Dai Kun to enhance its brand image and store design [19]. Group 3: Brand Communication and Future Vision - OEZER's brand director highlighted the importance of adapting to the new internet era and social media evolution, positioning the brand to thrive amidst change [24]. - The 2025 brand communication strategy aims to enhance online presence and create annual brand events and product promotion plans [26]. - The company plans to develop a rich content ecosystem by collaborating with cross-industry influencers to create authentic and engaging narratives [29].

因为无论是否承认设计的发展进程充满了间歇的弯折和往复，无论是要思考抽象的风格、还是具象 的造型，只要是宏观纵向的视角，历史中众多前辈和作品都将无法忽略。此外，创新往往时不时的 需要通过对历史人物和作品的批判或扬弃来确立自己的存在，这是设计创新在对历史的回顾和思考 中获取滋养和能量的一种反向形式。 无论我们对历史设计的利用是采取正向还是反向的方式，都必须具备一个前提条件，那就是我们拥 有对历史的备忘和记录，并且这些记录要足够真实和详备。然而，就中国的汽车设计领域而言，这 种记录的习惯却显得非常不足。其原因主要有两个方面。 一方面，在上个世纪，中国的汽车完全没有实现私人化。那个时候，车型的数量和总产量都很有 限。汽车这个工业文明的产物与大众的生活距离十分遥远，其记录仅仅局限在极小的科技工程领 域，汽车设计相关的信息流传和保存的情况都非常差。 另一方面，21世纪中国汽车私有化普及仅仅花费了不到二十年的时间。在这段时间里，中国人购买 和使用的汽车的设计风格跨越了从上世纪70年代到21世纪最新潮流将近50年的周期。这种超越一倍 的差异客观上加速了中国人汽车消费的新旧迭代习惯。中国人平均不到四年就会更换一辆汽车，这 个速 ...