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nted out that” the ’separation of powers ’ has inhibited the type of ‘joined up’ government approach that the UK has developed, whilst China’s attention to the creative industries has not matched that of the UK either in structure or in scope. “

Even the term “modernity” didn’t came to being since 1980s, the period when China was in her utopia vision on the one hand and an era of emergent crises on the other.
As most Chinese critics have assumed, “Chinese modernism” is anything but pure. As Jing sums up in the book, the relationship between form and content in “Chinese modernism” cannot be summed up in mere antagonistic terms. In the years of 1980s there grow a kind of self-conscious starting from the coastal cities such as Shenzhen and Shanghai. The new notion of emerged aesthetic modernity rendered independent of the culture elite’s enlightenment project. According to Jing, the debate over Chinese modernism first started in the 1989 crackdown and then resumed in 1992, the year as Deng Xiaoping lead the whole country to join the global free market. The term “modernism” that time was limited in a small circle of elites.

Potential cities
Before looking for answers to this huge question, I began my research by looking back the development of design sector in China. In general, individual cities are developing their stronger interests in design as part of a desire to differentiate themselves within China and to build up the economic strength (including strength in international markets).
The term of “design” even started very late in China, compared with other western countries. Matthew Turner, one of the few Western historians to examine Chinese design, notes that the history of China design culture prior to the 1960s “simply was believed not to exist. ” Instead, under the fact that design is still an ambiguous concept in China, designers throughout the period from 1950s to the mid-1990s use the word zhuanghuang referring to most of the design activities, which is pointed out in Zhang Hongxing’s research in China Design Now.
Due to the Opening Up Policy, graphic design was the first area to take off during the mid-1980s in Shenzhen, the first city (in southeast China) to benefit from the rapid foreign investment and the vibrant economy under the Policy. State-owned companies in Shenzhen were urged to acquire up-to-date information about technology and design from the developed world. In the Form “Chronology 1949-2008” in China Design Now, there clearly list some key days of graphic design in Shenzhen: China Art and Craft Association was set up in 1981; China Advertising Association in 1983; and China Industrial Design Society in 1987 and the first private industrial design studio set up in 1998…
In the Graphic Design in China exhibition held in Shenzhen in 1992, young designers from China were aseessed agianst the international standard and was committed to communicate with design professionals from countries such as America, Britain or France. The exhibition marked a major breakthrough for the newly emerging professionals in mainland China, highly praised by Kan Tai-Keung that those works “revealed substantial improvement” and “were on a level with their international counterparts.”

If, say, Shenzhen is the frontier city of all the social changes, Shanghai is the dream city to further take down these developments. From the Statistic
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