Lucia Liu’s ‘theBallroom’: Print debut for China’s fashion voice

While many fashion publications are abandoning print for digital, Chinese stylist Lucia Liu is moving in the opposite direction. Her publication theBallroom, which has amassed 1.1 million Weibo followers over 36 editions, is launching its debut print edition. From styling Samuel Guì Yang with Manolo Blahnik, to Ming Ma with Moynat, the debut print magazine, “Fashion Imagery: The Present and the Imagined,” out this month, is part of a push to take Chinese creative talent to Western audiences. Liu’s career includes a stint on China’s Next Top Model in 2015 and holding positions at leading publications such as the New York Times' T Magazine. Jing Daily spoke with Liu about the timing of her print debut, the evolution of China’s fashion industry, and how Beijing has influenced theBallroom’s editorial direction. Jing Daily: How would you describe theBallroom’s print debut? Lucia Liu: Think of it as a collectible physical digital archive. Starting from visual creativity, it merges an international perspective with an innate Eastern aesthetic sensibility. JD: Why now? LL: theBallroom started as a digital creative fashion platform and gradually built its presence. Precisely because we are in a highly digitalized era, the “anti-fast” nature of print media has become a more precious and disruptive choice. Depth, credibility, and a ritualistic experience are the irreplaceable values of print magazines. At the same time, we retain our digital presence, which conveys more immediate, fashion-forward, and playful creative content. Print and digital each have their own focus. JD: How would you describe working in the Chinese fashion industry in 2025? LL: The industry is constantly evolving, and every year brings its own opportunities and challenges. We’ve seen new print titles emerge, and others recede (a reminder that the landscape is quite volatile at the moment). Our hope is that China’s fashion industry continues to diversify, with more high-quality independent publications finding their audience. JD: What’s your favorite part of the print magazine? LL: It’s difficult to choose a favorite part. The entire issue is structured like a novel, where every chapter has its own significance. For the feature, we invited three remarkable retired women who, upon reclaiming their freedom in the latter half of their lives, decided to rewrite their own stories, carving out their own light in the cracks of time. For theBallroom, women and female empowerment have always been a theme we are passionate about exploring, and we hope sharing this brings more strength to everyone. For the landscape, we went to the Wanzhou Grand Waterfall, one of the scenic attractions of the Three Gorges of the Yangtze River. This also highlights another key characteristic that distinguishes theBallroom from traditional fashion magazines: our “reverse operation” of exporting diverse aspects of Chinese culture to the world. This will remain our ongoing mission: to bring China to the world. JD: Has 2025 been a good year for Chinese designers, so far? LL: China’s design force is undergoing an unprecedented renaissance. While many designer names may already be familiar, what deserves more attention are the concepts and narratives behind these Chinese designers. The new generation of Chinese designers has moved beyond a cultural closed loop. Their commonality lies in no longer being constrained by strictly Chinese elements. They are definitely using a global language to tell Eastern stories, creating truly original and globally resonant designs. This represents another, more inspiring direction for the future. JD: What’s one behind-the-scenes aspect of fashion publishing in China that outsiders would find surprising? LL: Independent publications are scarce in China. theBallroom was born in China, but we explore global culture. Here, we can conduct the boldest visual experiments, publish the most profound cultural criticism, and explore topics that may not be trendy in the algorithmic world, but are extremely important. JD: How has Beijing influenced theBallroom? LL: As the home of many mainstream fashion media, Beijing has provided a nurturing environment for us as a magazine, but also the wider fashion industry, in comparison to other Chinese cities. The city’s deep historical and cultural heritage serves as a continuous source of inspiration, while its dynamic technology sector offers innovative tools and modern forms of expression. Together, these elements help cultivate a vibrant and well-supported creative ecosystem. JD: Will the magazine always focus on China? LL: We have always maintained an international perspective. Since theBallroom platform’s inception, we have collaborated on cross-border projects with global brands, international magazines, artists, and models. This approach extends to our print publication as well — from our talent choices, to our creative and editorial direction. We are dedicated to both introducing international creativity to China and showcasing Chinese voices abroad. You can find our print issues in bookstores across cities like Paris, New York, and London, making theBallroom accessible to readers around the world. JD: How do you see theBallroom evolving over the next few years? We envision theBallroom becoming more than a fashion publication: we aim to be a platform for cultural exchange. We want to share Chinese culture and art with a global audience while also introducing international art forms to our readers here. A small preview: starting from the second issue, we will be bilingual. We also plan to create more immersive experiences that connect online and offline, strengthening the dialogue with our audience.

Lucia Liu’s ‘theBallroom’: Print debut for China’s fashion voice

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Lucia Liu’s ‘theBallroom’: Print debut for China’s fashion voice

How Bottega Veneta weaved China’s forever it bag