1块5，如今可能连一瓶像样的饮料都买不到，但却能换来当下年轻人中最具代表性的"社交货币"之一——那些可自由搭配在鞋和包上的各式小配件，徽章 （"吧唧"）、亚克力立牌、迷你树脂玩偶…… 它们不再只是不起眼的小装饰，而已然越来越多地成为运动鞋、背包上的个性化标识，悄悄地改变着运动消费生态。 以19岁的游泳爱好者蔡蔡为例，她每周都会逛谷子店，最近刚购入两枚《Free! 男子游泳部》主题吧唧别在训练包上。"训练很辛苦，但看到喜欢的角色就 特别治愈，"她表示。她还热衷于DIY装饰Crocs洞洞鞋，身边也有朋友刚入手《排球少年》痛包。对这些年轻人来说，周边产品不仅是装饰物，更承载了 情感陪伴与身份认同。 这股起源于二次元社群的"痛文化"正与蓬勃发展的"谷子经济"深度融合，席卷年轻消费市场，也开始吸引到众多运动品牌的布局。 艾媒咨询报告显示，2024年中国谷子经济市场规模已达1689亿元，预计2029年将突破3000亿元。这个市场的快速发展，离不开一条完整产业链的支撑。这 些情感附加值极高的配件，串联起从广东揭阳模具制造、浙江义乌装配生产、跨境电商销售再到新消费品牌孵化的完整产业链条。痛鞋、痛包类配饰市场 增长显著，已从早 ...

Group 1 - The "pain culture" consumption trend is gaining momentum, with brands like Converse, LEE, Dickies, and Li Ning increasing their focus on pain bags to attract young consumers [1][2] - Pain bags differ from regular bags primarily due to a transparent compartment designed for displaying merchandise, rooted in Japanese "pain bag culture" where fans showcase their favorite badges [1][2] - The market for pain bags is becoming concentrated, with over ten sports brands, including Adidas and Anta, participating, and prices generally range from 100 to 200 yuan, with some single items selling over a thousand units [1][2] Group 2 - New products are being launched in the pain bag market, such as Converse's white backpack with a large transparent compartment and Skechers' concert-specific pain bag [2] - The influence of "pain culture" is extending beyond bags, with brands exploring DIY options in footwear and clothing, enhancing the emotional connection with consumers [2] - Industry experts note that the Z generation seeks emotional value over mere functionality, suggesting brands should adopt interactive systems and customization options to meet these demands [2]

Group 1 - The "Guzi Economy" in China is projected to reach a market size of 168.9 billion yuan in 2024, with expectations to grow to 308.9 billion yuan by 2029, indicating a sustained upward trend in consumer spending on related products [3] - The rise of "Guzi" consumption has negatively impacted traditional apparel sales, as consumers shift their spending towards "Guzi" products, leading to a decline in clothing performance [3][5] - Among 32 listed apparel companies, 44% reported losses in the first half of 2025, with 59% experiencing a decline in performance, highlighting significant challenges in the apparel sector [5] Group 2 - In the sportswear segment, 5 out of 6 companies reported growth, with Anta, Li Ning, and Xtep International showing varying degrees of sales increases [6][9] - Anta's retail sales are expected to see mid-single-digit growth, while FILA is projected to achieve high-single-digit growth, indicating strong performance in the sportswear market [9] - 361 Degrees reported a revenue increase of 11% year-on-year, while Sanfu Outdoor also showed significant profit growth [9][10] Group 3 - The men's apparel sector is struggling, with 6 out of 10 companies reporting losses, while China Lilang remains the most profitable with a net profit of 243 million yuan [11][12] - Nine Mu Wang is expected to see a substantial profit increase of 200% to 260%, contrasting with other brands that are facing losses [12] - The women's apparel sector is performing relatively better, with only 1 out of 7 companies reporting a loss, and notable growth from brands like Langzi and Xinhe [16][18] Group 4 - The children's clothing segment is facing challenges, with all three companies reporting losses, while the lingerie sector is also experiencing declines [24][25] - The footwear and bag categories are similarly struggling, with 4 out of 6 companies reporting losses, although Tian Chuang Fashion successfully turned a profit [28][32] Group 5 - Apparel companies are actively seeking new growth avenues by optimizing online and offline channels, with some successfully reducing losses through strategic adjustments [34] - Leading companies are exploring flagship store models to enhance growth, with 361 Degrees and Taiping Bird launching innovative retail formats to attract consumers [35][37] - The focus remains on creating appealing products and effectively positioning them in the market to resonate with consumer preferences and brand loyalty [38]

Core Insights - The rise of "pain culture" in China has led to a booming market for related merchandise, particularly among young female consumers, with platforms like Xianyu reporting significant sales figures [1][2] - The market for "pain economy" is expanding rapidly, with projections indicating that it will exceed 200 billion RMB by 2025, driven by events like BilibiliWorld2025 and increasing consumer engagement [3] - The distinction between official and unofficial merchandise is crucial, as consumers show a strong preference for authentic products, leading to significant price differences [4][5] Group 1: Market Dynamics - Xianyu's report indicates that 250,000 pain bags were sold in a year, with over 90% of buyers being female and more than 70% being post-95s [1] - The price range for pain bags is between 30 RMB and 200 RMB, making them accessible to students, which contributes to their popularity [2] - The "pain economy" has created a complex supply chain, with rising sales of related products like anime badges and custom stickers [5] Group 2: Consumer Behavior - Young consumers view pain bags as more than just decorative items; they serve as emotional tokens that enhance their daily lives [6] - Social media plays a significant role in the culture, with users showcasing their pain bags as a form of social currency [2] - The emotional connection to the merchandise drives consumers to purchase more, often leading to a collection of items that may not be used practically [5][6] Group 3: Industry Challenges - The prevalence of counterfeit products poses a risk to the market, as consumers are often misled into purchasing lower-quality items [4][5] - There is a growing concern about the practicality of merchandise, as many items are seen as decorative rather than functional [5] - The industry faces challenges in maintaining a balance between consumer enthusiasm and the potential for market saturation or exploitation [6]

Group 1 - Adidas reported a revenue of €12.105 billion for the first half of 2025, a 14% year-on-year increase, with an operating profit of €1.2 billion, up 70% [1] - The Greater China region has shown consistent quality growth for nine consecutive quarters, with a revenue of €798 million in Q2, representing an 11% increase, and €1.827 billion for the first half, a 13% increase [1] - The CEO emphasized the effectiveness of the localization strategy, which focuses on understanding local needs and enhancing product performance and fashion [1][2] Group 2 - The Chinese creative team has been increasingly active since 2022, focusing on product design, brand marketing, and supply chain collaboration under a strong localization strategy [2][4] - The aim of the reforms is to regain consumer trust in Adidas, with a focus on product strength as the key to consumer engagement [4] - Adidas has been integrating its historical brand elements with Chinese cultural elements, enhancing emotional resonance with consumers [7][9] Group 3 - The Chinese consumer market has shifted from brand-oriented to self-expression, prompting Adidas to adjust its product offerings accordingly [9] - The running business has become a significant highlight for Adidas in Greater China, contributing nearly 30% growth in global running shoe sales in Q2 2025 [10] - Adidas is responding to more segmented consumer demands, with a growing number of "China-first" creative products launched monthly [12] Group 4 - The concept of "rapid and precise" product launches is emphasized, with a focus on creating products that resonate with consumers while also generating buzz [14] - The strategy includes hidden product releases in flagship stores to create a sense of discovery for consumers [16] - Social media plays a crucial role in understanding consumer needs and driving product innovation [17][20] Group 5 - The localization strategy has empowered local teams, with over 80% of products produced in China and more than half designed locally, indicating a shift towards local talent development [20][22] - The CCS team aims to become a platform for creative talent in China, fostering a connection with consumers through co-created products [22]

Core Insights - Adidas continues its growth momentum, reporting a global revenue of €12.105 billion in the first half of 2025, a 14% year-on-year increase, with operating profit reaching €1.2 billion, up 70% [1] - The Greater China region has shown "quality growth" for nine consecutive quarters, with Q2 revenue of €799 million, an 11% increase, and a total of €1.827 billion for the first half, a 13% rise [1] - The CEO emphasizes the effectiveness of the "localization" strategy, which has been a key focus since Adidas's rebound in 2023 [1] Financial Performance - In the first half of 2025, Adidas achieved a revenue of €12.105 billion, marking a 14% increase compared to the previous year [1] - Operating profit for the same period reached €1.2 billion, reflecting a significant 70% growth [1] - The Greater China region contributed €1.827 billion in revenue for the first half, with an 11% increase in Q2 revenue [1] Localization Strategy - The localization strategy has been pivotal in driving growth, with a focus on understanding local consumer needs and enhancing product offerings [1][22] - The Greater China team has been empowered to make decisions, allowing for greater flexibility in responding to market changes [22] - The creative team in China has been increasingly involved in product design, with over 80% of products produced locally and more than half designed in China [22] Product Development - The Shanghai Creative Center (CCS) has become a key player in product design, focusing on creating products that resonate with Chinese consumers [5][20] - Recent product launches have emphasized a blend of Adidas's historical elements with contemporary Chinese influences, enhancing emotional connections with consumers [9][20] - The running category has emerged as a significant growth area, contributing nearly 30% to global running shoe sales in Q2 2025 [12] Consumer Engagement - Adidas is adapting to the evolving Chinese consumer landscape, shifting from brand-driven to consumer-driven approaches [11] - The brand aims to balance proactive marketing with real-time consumer feedback to create products that reflect individual expression [11] - The introduction of "first launch" products has been a strategy to engage consumers and create memorable experiences [14][16] Future Outlook - The CCS aims to become a platform for creative talent in China, fostering local design and innovation [25] - The brand's commitment to local production and design is expected to enhance its cultural relevance and market position [22][23] - Adidas is focused on building emotional resonance with consumers through tailored products and community engagement [25]

Core Viewpoint - The article discusses the booming second-hand trading market within the ACG (Anime, Comic, Game) community, highlighting the impulsive buying behavior and the subsequent need for selling items at a loss, driven by the popularity of various IPs and merchandise [4][6][62]. Group 1: Market Dynamics - The second-hand market for ACG products has seen significant growth, with items experiencing drastic price fluctuations, such as a character figure dropping from 3000 yuan to hundreds within six months [4][6]. - The rise of IP economy has led to an increase in merchandise releases, with brands frequently launching new collaborations and products, creating a vibrant trading environment [6][7]. - The impulsive buying behavior is prevalent, with consumers often purchasing items at inflated prices during initial releases, only to later sell them at a loss on platforms like Xianyu [7][16]. Group 2: Consumer Behavior - Consumers in the ACG community exhibit a "buy high, sell low" mentality, often relying on second-hand sales to recoup costs from impulsive purchases [16][34]. - The phenomenon of "blind box" purchases has become common, where consumers buy mystery boxes with uncertain outcomes, leading to increased spending driven by the thrill of potential high-value items [35][40]. - Social media platforms like Xiaohongshu play a crucial role in influencing consumer behavior, where users showcase their collections and engage in community discussions before making purchases on trading platforms [57][58]. Group 3: Platform Analysis - Xianyu remains the dominant platform for second-hand ACG transactions, boasting a user base of 105 million and a 75% year-on-year increase in transaction volume [53]. - The emergence of niche platforms like Qindao and Jihuan She caters to specific segments within the ACG community, offering tailored services and community engagement [52][51]. - Xiaohongshu has unexpectedly benefited from the trading boom, becoming a preferred platform for users to showcase and discuss their collections before transitioning to sales on Xianyu [57][58]. Group 4: Challenges and Concerns - The influx of underage users in the second-hand market has raised concerns about impulsive buying and refund requests, complicating transactions for sellers [58][59]. - Issues such as counterfeit products and the need for better regulatory measures have emerged as significant challenges for the trading platforms [60][61]. - The sustainability of the second-hand market is questioned, as it heavily relies on the ongoing popularity of ACG IPs, with potential risks if new hits do not emerge [62].

Core Insights - The article discusses the booming second-hand trading market for anime and gaming merchandise, highlighting the volatility in prices and the impulsive buying behavior of consumers in the "二次元" (two-dimensional) culture [1][5][12] - It emphasizes the dual nature of consumers as both buyers and sellers, often leading to a cycle of impulsive purchases followed by attempts to recoup costs through resale [31][46] Group 1: Market Dynamics - The second-hand market for anime merchandise has seen significant fluctuations, with items like character badges experiencing price drops from thousands to hundreds of yuan [1][5] - The rise of IP (intellectual property) economy has led to an increase in merchandise availability, with consumers often engaging in impulsive buying, resulting in a vibrant second-hand trading environment [5][12] - Platforms like Xianyu (闲鱼) and Qidao (千岛) have become central to this trading ecosystem, with Xianyu reporting a user base of 105 million and a 75% year-on-year increase in transaction volume [50][49] Group 2: Consumer Behavior - Consumers often engage in "blind box" purchases, where they buy merchandise without knowing the specific items they will receive, leading to a gambling-like mentality [32][37] - The article notes that many sellers are also significant buyers, with profits from sales often reinvested into new merchandise, perpetuating a cycle of consumption [31][46] - The community aspect of platforms like Xiaohongshu (小红书) plays a crucial role in influencing purchasing decisions, with users often showcasing their collections and purchases [54][52] Group 3: Challenges and Risks - The second-hand market faces challenges such as counterfeit products, high uncertainty due to the involvement of minors, and complex unwritten rules within the community [14][56] - The article highlights the need for better regulation and service standards on trading platforms to address these issues and ensure sustainable market growth [56] - Concerns are raised about the long-term viability of the second-hand market, which heavily relies on the popularity of anime IPs, suggesting that a lack of new content could lead to market decline [56]

Core Insights - The article discusses the rise of "pain culture," a visual expression trend among young people that originated from Japanese "痛车" (itasha) culture, which has evolved into a broader phenomenon encompassing various forms of public and personal expression [1][4][8] - Pain culture is not merely a subcultural decoration but represents a significant shift in content economy and consumer engagement, challenging traditional commercial spaces and visual authority [4][9][19] Group 1: Cultural Mechanism - Pain culture serves as a means of identity confirmation for young people, allowing them to express not only their preferences but also their self-identity [7][12] - The phenomenon is characterized by high levels of participation, where young individuals engage in collective activities that transform them from passive consumers to active content creators [11][12] Group 2: Market Trends - Data from 2024 indicates a 268% year-on-year increase in the number of pain culture products on the Xianyu platform, with over 70% of users being post-95s and 25% being post-05s [1] - The popularity of pain culture is evident across social media platforms, with significant engagement metrics such as 14.5 billion views on Xiaohongshu and 16.9 billion views on Douyin for related topics [5] Group 3: Spatial Redefinition - Pain culture is redefining urban spaces, shifting the visual narrative from brand-centric to character-driven expressions, thereby creating a "gentle occupation" of public spaces [9][10] - Commercial spaces are evolving into participatory environments where consumers are invited to engage actively, transforming traditional retail into interactive storytelling venues [11][19] Group 4: Future Implications - The article emphasizes that successful commercial spaces must foster a sense of belonging and identity among users, moving beyond mere content display to creating a sustainable cultural ecosystem [19] - Future commercial strategies should focus on building long-term relationships and community identities, rather than short-term engagement through fleeting trends [18][19]

Core Insights - The article discusses the emerging "pain culture" and its significant market potential, particularly among the millennial generation, with the "guzi economy" market size surpassing 100 billion yuan in 2023 [6][7]. - Bilibili World (BW), a major ACGN event, showcases the growing consumer power of the anime and gaming community, with record attendance and participation from various brands [16][18]. Group 1: Event Insights - BW 2023 saw the highest participation ever, with 900,000 ticket reservations and 400,000 attendees, covering an area of 240,000 square meters, making it four times larger than Japan's AnimeJapan [17][18]. - The event attracted a diverse audience, including international attendees, and featured over 700 exhibitors, with 18 brands from non-ACGN sectors [34][35]. Group 2: Brand Engagement - Brands like Upgraded Snacks creatively integrated into the event, achieving high visibility and engagement, demonstrating the effectiveness of content-driven marketing [29][30]. - The automotive industry also participated actively, with major brands showcasing "pain cars" and collaborating with popular IPs, indicating a shift in marketing strategies to engage younger consumers [36][38]. Group 3: Market Trends - The article highlights the increasing consumer spending power within the "pain culture," with reports indicating that by 2024, the pan-anime demographic in China will exceed 500 million people, with average spending over 1,000 yuan per person [71]. - Companies like Chow Tai Fook have successfully tapped into this market, with their collaboration with popular IPs leading to significant sales growth, showcasing the potential for brands to connect with younger audiences [63][67].