Too Cool

Too Cool
Origins
Other names	Tacky Cool
Decade of origin	2010s
Location of origin	China
Creator(s)	Liu Min (Princess Butterfly)
Visuals & Themes
Key motifs	Buddhist iconography, traditional Chinese culture, references to internet culture
Key colours	Vibrant colours, green, blue, teal, pink, red
Key values	Rural pride, tackiness, avant-garde
Connections
Related aesthetics	Cottagecore Frutiger Aero Romantic Chinese Village Shamate Shanzhai Webcore Xpiritualism Yabi

Too Cool (土酷) is a kitschy movement and fashion trend originating from China. Characterized by its bedazzled and ostentatious style, it reclaims rural and traditional Chinese styles that were once considered outdated and unfashionable, transforming them into expressions of individuality and cultural pride. The aesthetic frequently uses vibrant colors, nostalgic imagery, and DIY elements, incorporating motifs of traditional Chinese culture juxtaposed with references to early internet culture and modern, ironic twists.

The aesthetic was pioneered by the Chinese influencer Liu Min, better known by her stage name Princess Butterfly. "Tu" (土, literally translated as "soil") is one word being used to describe this traditional, rural look. "Tu" has mainstream connotations of rural tastelessness and has historically been used to show contempt towards China's rural population. However, its connotations have shifted in recent years, especially on the Chinese internet.

The reclamation of the word "tu" is a defining feature of this aesthetic. "土酷" sounds like "too cool" in English, playfully challenging the stigma against rural culture and transforming a once derogatory term into an expression of empowerment. On platforms like Weibo, young people are actively embracing the term with hashtags like #toocool and #toocoolgirl, garnering millions of views.

History

Historical Context

To completely understand Too Cool, it's valuable to examine the history of Chinese aesthetics in the global context, particularly how these aesthetics are perceived internationally. These perceptions often fall into two overly simplistic stereotypes: "the Orient," which evokes an image of rich, sophisticated traditional art and culture, while the "Communist State" is often reduced to visual clichés associated with authoritarianism and propaganda, derived from Socialist Realism. These stereotypes, perpetuated in Western media and the global art market, contribute to a limited understanding of Chinese aesthetics.

Another prevalent stereotype is the "Made in China" label, which is frequently associated with low quality products, knock-offs, and a lack of originality. This stems from China's rapid modernization and urbanization, where the focus on mass production and rapid consumption led to the borrowing and copying of Western consumer aesthetics. While China has become a leading exporter of goods, this has also reinforced the image of Chinese production as synonymous with counterfeiting and a prioritization of profit over creativity, as seen with the Shanzhai aesthetic.

Too Cool reappropiates dismissed elements of Chinese aesthetics and challenges the notion that Chinese production is solely defined by imitation and a lack of originality. It suggests that the act of copying and reinterpreting itself can be a form of creativity, leading to unique and unexpected aesthetic outcomes. This challenges the dominant narrative of Chinese aesthetics as derivative.

It's also important to consider its predecessor, the Shamate subculture. Emerging in the 2000s, Shamate (derived from the English word "smart") was characterized by its bold hairstyles and fashion inspired by various Western subcultures like Scene, Goth, Emo, Punk, as well as some influences from Japanese Visual Kei bands. Often perceived as a "poor rip-off" of these styles, Shamate nonetheless developed its own distinct identity, particularly among youth in lower-tier cities in China.

Emergence

The rise of "Too Cool" is closely associated with the popularity of Liu Min, known online as Princess Butterfly. Since launching her Princess Butterfly persona in early 2018, Liu Min has become a prominent figure in the Chinese fashion scene. Her personal style, as shown through her presence on platforms like Weibo and Instagram, features a mix of Qipaos embellished with images of Chinese deities, stockings decorated with gold ingots, and photographs set against idyllic backdrops of flowers, clouds, and iconic Chinese landmarks like the Great Wall. Photographer Hu Weishan credits Princess Butterfly as a muse and a source of inspiration, stating that her discovery of Liu Min marked a "crucial turning point" in her career, leading to an exploration of kitsch and evolving aesthetics in modern China.

The term "Too Cool" is actually a phonetic English translation of the Chinese term "土酷" (Tuku), which translates to "tacky cool." This references the inherent irony within the aesthetic, as it reclaims and celebrates elements of Chinese culture that were once considered outdated or unsophisticated. According to Yangya, who claims to have created the style, the emphasis should be on the "Too," signifying an excessive or exaggerated coolness, rather than on "Tu," which carries connotations of tackiness.

The controversial Balenciaga ad featuring the Too Cool aesthetic.

While Too Cool has been around since the mid-2010s, the aesthetic entered mainstream consciousness in mid-2020 when Balenciaga incorporated elements of the aesthetic into an advertisement for Qixi, the Chinese equivalent of Saint Valentine's Day. The ad sparked controversy and accusations of cultural appropriation, with many netizens criticizing Balenciaga for utilizing "vulgar and old-fashioned imagery" reminiscent of Princess Butterfly's signature style.

Liu Min acknowledged the influence of traditional "土 earthy" styles, but she rejects the notion that Too Cool is inherently old-fashioned or something "of the past." She views the aesthetic as a form of vintage nostalgia, a retro homage to a period of rapid change and modernization in China. This element of nostalgia is reflected in the DIY aesthetics and references to early internet culture often found in Too Cool imagery, similar to the overseas equivalent of Xpiritualism. The nostalgia of Too Cool is not necessarily about longing for the past, but rather paying homage to bygone eras and a recontextualization of cultural elements that were once dismissed or overlooked.

Visuals

Too Cool is characterized by embracing elements considered "tacky" or outdated, drawing from the fashion and visual culture of rural towns in China. The aesthetic is often expressed through performative photography and videography featuring exaggerated poses, dramatic makeup, and theatrical settings.

Generic picture from the 2018 article "China Too Cool: Vernacular Innovation and Aesthetic Discontinuity of China" by Yi Jing Zhou.

The iconography combines elements of traditional Chinese culture and modern influences. It incorporates imagery such as depictions of temples, eagles, and Buddhist figures, alongside references to rural life and older generations, like those found in old posters featuring plum blossoms, lotuses, ancient proverbs, and "get certificates" (办证) stickers. This fusion of disparate elements challenges established notions of style and taste. Waterfalls and flowers also frequently appear as a backdrop or setting in photoshoots and videos. Certain typographic fonts combined with a glossy, skeuomorphic texture and rainbow text are also common.

Fashion

Picture from Princess Butterfly's Instagram.

Too Cool fashion is a combination of contradictory elements, fusing traditional Chinese garments and motifs with modern, often ironic, twists. Qipao, the classic form-fitting Chinese dress, is a staple of the aesthetic, but featuring vibrant colors and unconventional embellishments. For instance, Princess Butterfly has been seen sporting a qipao adorned with images of temples, eagles, and a female Buddha.

Beyond the qipao, the aesthetic incorporates a variety of traditional Chinese garments and accessories, such as bellybands and Chinese tunic suits, often with contemporary adaptations. The juxtaposition of traditional and modern extends to the use of accessories and imagery. Traditional symbols like dragons, tigers, and auspicious proverbs are frequently incorporated into clothing and accessories, often alongside references to early internet culture and contemporary trends. The clashing styles challenge the conventional notions of taste and beauty.

While the term "Tu" (土), meaning "soil," has historically been used to denigrate rural fashion as unsophisticated, Too Cool reclaims and celebrates these elements, much like other kitschy aesthetics. Designers and influencers draw inspiration from a range of sources associated with rural life and older generations, including those that predate living memory. Old posters featuring "well-meaning" elements like plum blossoms and lotuses, ancient proverbs, and even "get certificates" (办证) stickers, which were once a common sight in older residential buildings, are frequently used elements.

The embrace of "Tu" aesthetics reflects a growing nostalgia for elements of pre-communist China's past and a rejection of the previously held stigma against rural aesthetics. Reclaiming "Tu" can also be seen in the work of designers like Fabric Porn's Zhao Chenxi, who uses humor and tongue-in-cheek references to Chinese cultural symbols from his childhood in his works.

Too Cool has begun to influence mainstream fashion trends in China. Designers like Kate Han of Mukzin and Angel Chen incorporate elements of traditional Chinese imagery and symbolism into their collections, albeit with a more modern interpretation.

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