Too cute? Hermès anime ad reveals limits of Gen Z marketing

Hermès faced fierce criticism on Chinese social media after releasing three animated shorts in August, highlighting the risks luxury brands face when attempting to connect with younger consumers through animation marketing. The French luxury house collaborated with American artist Annie Choi on whimsical animated films promoting its Kaorumi tableware, Kos wooden sandals, and Bolide Messenger bag. While animation experts praised the shorts as artistic masterpieces, they received overwhelmingly negative feedback on Xiaohongshu (also known as RedNote), China’s leading lifestyle platform. Related posts garnered more than 6,700 likes and 1,820 comments, with users criticizing the “childlike” aesthetic as damaging to Hermès’ prestige. Many questioned whether the videos were AI-generated, calling them “utterly misaligned with Hermès’ high-end positioning.” Comments mocked the animation quality as resembling “pop-up mobile games.” Animation’s growing appeal for luxury This backlash comes as luxury brands increasingly embrace animation to reach broader audiences and tap into the “emotion economy” — where young consumers prioritize emotional satisfaction over traditional value metrics. The China Youth Internet Users’ Social Mentality Report (2024) elaborated on the concept, noting that young consumers increasingly value emotional experiences over practical worth. They willingly spend on emotions like warmth, healing, and nostalgia — creating what experts call an “emotional premium.” On August 14, Ralph Lauren released its first animated short, Polo Bear Chronicles: Operation Black Tie, featuring its mascot on a mission to recover a stolen painting. The film embodies the brand’s signature aesthetic while exploring its beloved 1990s-era IP in a fresh virtual format. Created by the brand’s in-house creative team, the short follows Polo Bear and his partner, a pigeon, through an East Hampton estate setting that reflects Ralph Lauren’s refined identity. Balenciaga’s 2021 crossover with The Simpsons exemplifies successful animation marketing. The short film, featuring Marge Simpson’s family attending a Balenciaga runway show, sparked widespread buzz with its satirical humor and celebrity cameos from Anna Wintour and Naomi Campbell. Fans praised its creativity while noting it revealed Balenciaga’s “human side.” Loewe has also benefited from animation collaborations. Since 2021, the brand has partnered with Studio Ghibli’s three most iconic IPs — My Neighbor Totoro, Spirited Away, and Howl’s Moving Castle. These collaborations have not only kept the brand in the spotlight, but also forged a deep emotional connection with younger consumers. Animation serves as an ideal bridge between brands and consumers, carrying cross-generational memories and sparking viral social media sharing. For luxury brands, it comprises a long-term investment in fostering meaningful cultural connections with young audiences. The Hermès misstep However, Hermès' experience demonstrates that not all animation resonates. Xiaohongshu’s user base — 500 million monthly active users with 50% born after 1995 — comprises a triple-high demographic: high income, education, and consumption levels. This group is particularly discerning. “While these animations are exquisite, the balance between artistic abstraction and product presentation is off, potentially confusing consumers,” said Ashok Sethi, founder of consumer behavior research firm Behave. The controversy reveals a fundamental mismatch between global luxury companies’ vision of “high art” and Chinese youth’s expectations of “high-end aesthetics.” Li Qin, a brand licensing expert, tells Jing Daily, “It comes down to a mismatch between the company’s positioning and the artist’s audience. Luxury consumers find the style too childish, while young fans of the style can’t afford the products. It pleases neither side." Notably, Annie Choi has successfully collaborated with Louis Vuitton, Burberry, and Helmut Lang, and her previous Hermès work received online praise, making this backlash particularly striking. Implications for luxury marketing The incident reflects broader challenges facing luxury companies in the post-pandemic era, as global luxury market growth slows and Chinese consumers become increasingly pragmatic and selective. Even Hermès, positioned at the luxury pyramid’s apex, must explore more relatable communication to retain younger audiences’ attention. This collaboration represents an attempt at brand rejuvenation, using playful visuals to soften Hermès’ traditionally aloof image. Yet, when the animation’s tone clashes with the brand’s essence, such efforts risk becoming costly endeavors that generate buzz without market payoff. “Companies should prioritize themselves and their products, weaving art around the company rather than crafting stunning animations and forcing products into them,” Sethi says. As luxury companies continue pursuing younger demographics through animation, Hermès’ experience serves as a cautionary tale about the delicate balance between artistic innovation and company identity preservation.

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Too cute? Hermès anime ad reveals limits of Gen Z marketing