The fine line of design (2)

"One challenge I enjoy is reflecting clients' needs and spirit in their products," Liu says.

"I also regard graphic design as a medium of self-expression, which I believe is important for many young Chinese designers in any field."

Shanghai-based fashion designer Wang Yiyang shares Liu's view.

Wang's two brands - ZUCZUG and Cha Gang, which he launched in 2002 - have retail outlets on the mainland, and in Hong Kong, Japan and France.

"There are many discussions about the transition from made-in-China to designed-in-China," Wang says.

"We're only a quarter of the way down that road. But we're moving in the right direction."

He points out that "individuality" and "practical design" have become staples of the country's young designers.

"You start with all your creative ideas and a lot of idealism. Then you realize you have to be clever enough to combine those with a degree of commercialism to survive."

Jewelry designer Teng Fei, who is also the founder and dean of CAFA's jewelry design department, believes that what sets these designers apart from their predecessors is that they're not only competing in the domestic market but also are holding their own in the international market.

The 48-year-old points to CAFA as an example.

"It has an image as a source of edgy, risk-taking designers. Students here are trained in not only the technical but also the creative end of the field," Teng says.

Teng's Fairy Tale series of silver and pearl accessories are shown at the China New Design exhibition.

Jewelry design is - like many design genres - in its infancy in China. The Suzhou, Jiangsu province, native says she had no idea about its existence until she traveled abroad in 1990.

"My family wore simple, plain clothes with no accessories. It was studying in Germany that opened my eyes to fashion design's existence," she recalls.

Teng recalls that her career was initially made challenging by the fact that "the country isn't exactly known for producing world-class designers".

She developed a new theory when she returned to China in 1994 and established the jewelry major at the CAFA, she says.

"A piece of jewelry is designed for a certain person," she believes.

But her concept was not well received at first, she recalls.

"The previous generation was producing very nice - but not particularly adventurous - clothing. It never captured the fashion circle's imagination. Now, we've got young creative types, who are really exploiting China's avant-garde image."

Many domestic designers voice frustration that their products are snapped up by international buyers.

"All the designers want to reach a mass audience, but there is a gap between designers and Chinese consumers," Cui says.

"The lack of a market, products promotion and public awareness about original designs are among the gap's causes. But it will change."

Teng says more young people are becoming design majors following the rise of such gurus as Liu and Wang.

She plans to organize internships for students to work with the producers of such brands as Cartier to put them in touch with the design world's latest developments.

"Designers are now surrounded by many people of the same age and with the same mentality. They are working with photographers, magazines and boutiques who support and push them. It gives them the confidence and motivation to succeed."