TED专访中国时尚教母 洪晃：新冠疫情应对措施，如何体现中美价值观差异？

学习英语，领悟翻译，沟通世界！

扫描关注

翻译与润色

社科论文；政府文件；文学艺术

宣传文案；时政新闻；法律合同；

微信推广；投稿合作

微信/QQ:563730218

英美剧大全 | 看剧学英语，囤起来~

点击以下关键字

有惊喜

114个TED演讲

双语字幕

英文字幕

讲者简介

Huang Hung 洪晃

作家、出版商，北京的杂志出版人兼博客作者。过人的智慧、对时尚的敏锐和媒体企业家精神让许多人称她为“中国的奥普拉”

上下滑动，查看文稿

Helen Walters: Huang, it's so good to see you. Thank you for joining us. How's your 2020 been?海伦· 沃特斯：洪晃，很高兴见到你。谢谢你参加我们的节目。你的 2020 年过得怎样？
Huang Hung: My 2020 started totally normal. In January, I went to Paris, did my interview for the fashion week there, came back to Beijing on January 22nd, and finding things a little bit tense because there were a lot of rumors. Having lived through SARS, I wasn't that concerned.洪晃：我的 2020 年有个再正常不过的开头。一月份的时候，我去了一趟巴黎，在那里做了一场时装周的采访。1 月 22 日，我回到北京，发现气氛有点紧张，流言漫天。因为亲历过非典，我最初并不是特别担心。
And on the 23rd, I had a friend of mine from New York come to my house who had a flu, and we had dinner together, and another friend who came, who left the next day for Australia for vacation on an airplane. So we were not taking this terribly seriously until there was a lockdown.23 日，我的一个朋友从纽约来到我家。这个朋友当时得了流感，我们还一起吃了晚饭。后来又来了一个朋友，第二天就乘飞机到澳大利亚度假去了。总而言之，我们并没有太把这一切当回事，直到封城开始。
HW: And we've seen that echo around the world. I think still some people find it hard to understand the magnitude of some of the measures that China took. I mean -- what else are we missing about China's response in all of this?海伦：我们看到这场疫情波及到了全世界。中国所采取的防控举措之严，我想直到现在有些人仍然很难理解。那么，面对中国的这一系列响应措施，有哪些地方我们没理解到位？
HH: You know, historically, we're just two very different countries in terms of culture and history. I mean, these are two completely different human experiences for its people. So, for China, when the lockdown happens, people are OK. 洪晃：从历史的角度来看，就文化和历史而言，中美是两个截然不同的国家。这一切对于两国的人民而言是截然不同的经历。对于中国而言，刚开始采取封城措施的时候，大家都觉得觉得没什么问题。
People are OK with it, because they think that's what a good parent should do. You know, if a kid gets sick, you put him in the other room, and you lock him up and make sure that the other kids don't get sick. And they expect that out of the government. 人们能够接受这样的安排。因为他们认为这是一个“好家长”应该做的事情。就像当一个孩子生病的时候，你会让他单独呆在另一个房间，把他关起来，确保其他孩子不会被传染。这正是人们期待政府所做出的反应。
But when it is outside of China, from America, it becomes a huge issue of the right political thing to do and whether it's infringing on personal freedom. So the issues that you have to deal with in a democratic society are issues that one does not have to deal with in China.但是在中国之外的地方，在美国，这却变成了一个重大问题——这么做在政治的角度是否站得住脚，是否侵犯个人自由。所以说，在一个民主社会你需要面对的问题，在中国通常不是什么大问题。
I have to say that there's a word in Chinese that doesn't exist in any other language, and the word is called "guāi." It is what you call a kid who listens to his or her parents. So I think, as a people, we are very "guāi." 我得说，在中国有一个词是其他语言没有的，就是“乖”。这个词用来形容一个非常听父母话的孩子。我想，作为一个民族，我们非常“乖”。
We have this sort of authoritarian figure that Chinese always look up to, and they do expect the government to actually take the actions, and they will deal with it. 我们有这么一个中国人能一直仰望的威权形象。他们真切地期望政府能采取实际的措施，而且他们会接受安排。
However much suffering there is, they feel that, OK, if big brother says that this has to be done, then it must be done. And that really defines China as a separate mentality, Chinese has a separate mentality, as, say, people in Europe and America.无论这将带来多大的困难，他们觉得，如果老大哥说必须得这么干的话，那行吧，那就这么干吧。这就决定了中国的一个截然不同的思维——中国人有自己的思维——是有别于欧洲和美国的。
HW: That sense of collective responsibility sometimes feels a little absent from this culture. At the same time, there are, I think, valid concerns around surveillance and data privacy, things like that. What is the balance here, and what is the right trade-off between surveillance and freedom?海伦：我感觉那种集体责任感有时候在我们的文化里感受不到。同时，我想，对诸如监管和数据隐私等问题的担忧也有其合理之处。那么该如何平衡呢？该如何权衡监管和自由？
HH: I think in the internet age, it is somewhere between China and the US. I think when you take individual freedom versus collective safety, there has to be a balance somewhere there.洪晃：我想在这个互联网时代，这种权衡是介于中国和美国的做法之间的，当同时考虑个人自由和集体安全的时候，的确需要找到一个平衡点。
With surveillance, the head of Baidu, Robin Li, once said the Chinese people are quite willing to give up certain individual rights in exchange for convenience. Actually, he was completely criticized on Chinese social media, but I think he is right. Chinese people are willing to give up certain rights.说到监管，百度的 CEO 李彦宏曾经说过，中国人挺乐意牺牲某种程度上的个人权利来换取便利。实际上，他也因为这番言论在中国的社交媒体上遭到了抨击，但是我觉得他说的有道理。中国人的确愿意牺牲某些权利，
For example, we have ... Chinese mostly are very proud of the payment system we have, which is you can go anywhere just with your iPhone and pay for everything, and all they do is face-scan. I think that probably freaks Americans out. 举个例子，绝大部分中国人对于我们的支付系统还是挺自豪的，只要带着你的手机，走到哪儿都可以付钱买东西，刷脸就可以了。我想这可能会吓坏美国人。
You know, China right now, we're still under semi-lockdown, so if you go anywhere, there's an app where you scan and you input your mobile phone number, and the app will tell the guard at the entrance of the mall, for example, where you have been for the past 14 days. 要知道中国现在正处于半封城的状态，无论你去到哪里，只需要利用手机应用扫码，输入你的手机号码，这个应用就会告诉商场的保安，比如说，过去 14 天里你都去过哪里。
Now, when I told that to an American, she was horrified, and she thought it was such an invasion of privacy.我跟一个美国人说过这件事，她吓坏了。她觉得这简直就是侵犯隐私。
On the other hand, as someone who is Chinese and has lived in China for the past 20 years, although I understand that American mentality, I still find I'm Chinese enough to think, "I don't mind this, and I am better, I feel safer entering the mall because everybody has been scanned," 但是在另一方面，作为一个中国人，而且过去 20 年一直生活在中国，尽管我理解美国人的思维，但我觉得自己还是带有典型的中国人思维，觉得“我不在意这个，因为所有人都被扫了，这样让我感觉更好，更安全。”
whereas, I think individual freedom as an abstract concept in a pandemic like this is actually really meaningless. So I think the West really needs to move a step towards the East and to think about the collective as a whole rather than only think about oneself as an individual.所以我觉得个人自由作为一个抽象概念，在类似这样的疫情当中真的没什么太大的意义。所以我觉得西方真的需要向东方靠近一点，从全局思考问题，而不是从个体的角度看问题。
HW: The rise of antagonistic rhetoric between the US and China is obviously troubling, and the thing is, the countries are interlinked whether people understand global supply chains or not. Where do you think we head next?海伦：中美之间敌对情绪的上升很明显带来了麻烦。问题就在于，国与国之间一直是互相联系的，无论人们是否理解全球供应链。你觉得我们下一步该怎么走？
HH: You know, this is the most horrifying thing that came out of this, the kind of nationalistic sentiments on both sides in this pandemic. 洪晃：在这场疫情中，来自双方国家的敌对情绪是最可怕的后果。
Because I'm an optimist, I think what will come out of this is that both sides will realize that this is a fight that the entire human race has to do together and not apart. 因为我是一个乐观主义者，我想，这场疫情所带来的结果，应该是双方都意识到这是一场全人类需要共同努力对抗的战争，而不是各扫门前雪。
Despite the rhetoric, the global economy has grown to such an integration that decoupling will be extremely costly and painful for both the United States and China.先不论政治言辞，全球经济已经变成一个整体，背道而驰将给中美双方造成极大的成本，带来巨大的痛苦。
HW: It's also been interesting to me to see the criticism that China has received quite vocally. For instance, they've been criticized for downplaying the death toll, arguably, also for trying to demonize Dr. Li, the Wuhan doctor who first raised the alarm about the coronavirus. 海伦：看到中国接收到这种言语上的抨击我觉得还挺有意思的。比如说他们被批评虚报死亡人数，这一点仍有待论证；以及试图抹黑那位首先对冠状病毒敲响警钟的武汉医生，李文亮医生。
I just saw a report in "The New York Times" that Weibo users have been posting repeatedly on the last post of Dr. Li and using this as kind of a living memorial to him, chatting to him. There's something like 870,000 comments and growing on that last post. 我刚在《纽约时报》看到一篇报道，说微博用户不断转发李医生的最后一条微博，以此作为对他的某种悼念，和他对话。那条最后的微博下面有接近 87 万条留言，这个数字还在不断上升。
Do you see a change in the media? Do you see a change in the approach to Chinese leadership that actually could lead to China swinging perhaps more to the center, just as perhaps America needs to swing more towards a Chinese model?你看到媒体的态度有什么变化吗？你看到中国领导层所采取的措施有什么变化吗？是否真的可能导致中国更往中央靠拢？还是说也许美国更需要向中国模式靠拢呢？
HH: Unfortunately, not really, because I think there is a way between authoritarian governments and its people to communicate. The night that Dr. Li died, when it was announced that he died, the Chinese social media just blew up. Even though he was unjustly treated as a whistleblower, he still went to work in the hospital and tried to save lives as a doctor, and then he died because he contracted the disease. 洪晃：遗憾的是，并没有，因为我想，在极权政府和他的人民之间有某种特殊的沟通方式。李文亮医生去世的当晚，当他被宣布死亡的时候，中国社交媒体炸开了锅。尽管作为吹哨人，他受到了不公正的对待，可他仍然坚守在医院的岗位，作为医生努力挽救生命，接着因为受到病毒感染而不幸去世了。
So there was anger, frustration, and all of that came out in kind of commemorating a figure that they feel that the government had wronged. 所以一切愤怒和沮丧皆由此而生，人们借此来纪念一位他们认为被政府辜负的人物。
The verdict and sort of the official voice on: "Who is Dr. Li? Is he a good guy or a bad guy?" completely changed 180 degrees. He went from a doctor who misbehaved to the hero who warned the people.于是在出现的一种类似官方裁定的声音中：“李文亮医生是谁？他是好人还是坏人？”媒体的态度发生了180 度的反转。李文亮从一个行为不端的医生变成了一位警示世人的英雄。
So under authoritarian government, they still are very aware of public opinion, but, on the other hand, when people complain and when they commemorate Dr. Li, do they really want to change the system? 所以在极权政府的统治之下，媒体依然非常清楚公众的看法，但是在另一方面，当人们埋怨，当他们纪念李文亮医生的时候，他们真的希望改变这个体系吗？
And my answer is no, because they don't like that particular decision, but they don't want to change the system. And one of the reasons is because they have never, ever known another system. This is the system they know how to work.我的答案是，并不见得，因为他们只是不喜欢某个特定的决定，但是他们并不想改变体系。原因之一是，他们从来不知道除此之外的体系。这是唯一一个他们知道如何运转的体系。
HW: What is wok-throwing, Huang?海伦：洪晃，能告诉我们什么是“甩锅”吗？
HH: Oh, wok-throwing is when you blame somebody else. Basically, someone who is responsible in a slang Chinese is someone who carries a black wok. You are made to be the scapegoat for something that is bad. 洪晃：哦，甩锅就是你把责任推卸给其他人。大概意思就是让其他人负责，这是中国的一句俗语，“让某人背黑锅”。你被迫成为了某种恶行的替罪羔羊。
So basically, Trump started calling it the "Chinese virus," the "Wuhan virus," and trying to blame the entire coronavirus pandemic on the Chinese.这里指的就是，当特朗普开始把这个病毒称为“中国病毒”，“武汉病毒”，试图把这个冠状病毒大流行怪罪到中国头上。
And then the Chinese, I think, threw the wok back at the Americans. So it was a very funny joke on Chinese social media, that wok-throwing. There's a wok-throwing gymnastics aerobics exercise video that went viral.接着中国人把这个锅甩回给了美国人。于是关于甩锅，在中国的社交媒体上出现了一些很滑稽的梗。最近有个甩锅的健身舞视频很火。
HW: But tell us, Huang: You're also doing dances on TikTok, right?海伦：洪晃，实话实说，你也在抖音上跳过这段舞，对吗？
HH: Oh, of course. I'm doing a lot of wok-throwing aerobics on TikTok.洪晃：哦，那当然。我在抖音上上传了好几个甩锅的运动视频。
HW: I mean, a potential silver lining of all of this is that it has laid bare some of the inequities, inequalities in the system, some of the broken structures that we have, and if we're smart, we can rebuild better.海伦：我想，当前局势背后存在的一丝希望是，它让一些体系内的不公现象，一些现存的结构性问题暴露于光天化日之下，如果我们足够聪明，就可以更好地进行重构。
HH: Yes. I think one of the silver linings of this pandemic is that we do realize that the human race has to do something together rather than to be distinguished by our race, by the color of our skin or by our nationality;海伦：是的，我想这场疫情大流行带给我们的一线生机是，我们真切地意识到人类需要携手共进，而不是被种族、肤色或者国籍分裂；
that this virus obviously is not discriminating against anyone, whether you are rich or poor, important or not important or whatever skin color or nationality you are. So it is a time to be together, rather than to try to pull the world apart and crawl back to our own nationalistic shells.这个病毒显然不是针对特定的人群，无论你富有还是贫穷，无关你是重量级人物，还是无名小辈，不管你是什么肤色，什么国籍。是时候让所有人团结一致，而不是分裂世界，爬回到各自“国家主义”的保护壳中去。
HW: It's a beautiful sentiment. Huang Hung, thank you so much for joining us from Beijing. Stay well, please.海伦：这是一个非常美好的愿景。洪晃，非常感谢你远在北京参加我们的节目，请保重。
HH: Thank you, Helen, and you stay well as well.洪晃：谢谢你，海伦。也祝愿你安好。

洪晃是谁？

儿童时期的她生活在名人辈出的史家胡同，那时候的她是著名外交官、毛泽东英语老师章含之的女儿，著名思想家、大律师章士钊的外孙女……
尽管她并不喜欢提及自己的身世，但这段生活经历无疑是她最早的文化启蒙。▲儿时的洪晃和父母上个世纪九十年代，从美国留学归来的洪晃将家安置在798艺术区附近的一幢LOFT里，圆了在美国租不起LOFT的乌托邦梦。当时的洪晃，受西方思想的冲击和前卫艺术的影响，毅然辞去了年薪百万的外企首席代表职位开始创业，那时期的她是中国互动媒体集团的CEO，也是《iLOOk世界都市》等杂志的出品人。▲少女时期的洪晃
后来，住了七年LOFT的洪晃开始回归“田园生活”。二十年前，她在北京郊区的下苑村盖了一所房子，与先生杨晓平一起筹划设计，自得其乐。除此之外，她还在家庭生活的间隙中写专栏，针砭时弊；写小说，语言犀利。这时期的洪晃是专注于写作的“专栏作家”，是《张大小姐》长篇小说的作者，还是一名沉浸在生活乐趣中的妻子和母亲。
上个世纪九十年代，当人们普遍把外企看作是金饭碗的时候，时尚媒体在中国尚处于萌芽状态。怀揣着文艺梦想的洪晃辞去年薪百万的外企工作开始做杂志，出品了《iLOOk世界都市》等杂志，希望在中国传播真正的时尚文化。之后的20年，在中国开办时尚杂志的风潮进行得如火如荼，各色期刊遍布大街小巷。2010年，当西方奢侈品牌在中国的影响力如日中天，洪晃转而投资创立了“中国原创设计概念店”薄荷糯米葱，希望让更多人了解本土设计师的名字和品牌。现在，当你走在各大商业街区，几乎每家个体服装店都想将概念定位贴上“设计师买手店”的标签。从曾经的“名门痞女”到“时代逆行者”，再到现在的“田园牧歌”，洪晃似乎总会选择一条与众不同的路，她的“叛逆”从童年就初见端倪，一直引领着自己的精神世界和现实生活。如今，她将过往的观察和思考投射到大时代的背景中，创作了《张大小姐》这本小说。故事的主角张燕是京城名媛，家庭显赫，又嫁了首富，自己和大学好友的公关公司也赚得金银满盘。有一天，张大小姐接到警方一个电话，说在河北一个叫半挂坡的村庄附近发现一具被乱刀砍死的尸体，死者面部已经被砍烂了，无法辨认。只是在他身上找到一个纸条，上面写着张燕的手机号码。出于好奇，张大小姐就去验尸了，她万万没想到死者是她在纽约留学时候的初恋情人……名门之后的身份、在美国多年的留学经历，以及回国后对时尚圈的深入了解，成为了这部小说的创作背景，洪晃却用诙谐的手法描写了时尚圈、公关界、慈善界等多种内幕和真实景象，蕴含着对精英阶层虚伪生活的讽刺。在小说中，张大小姐成为富太太后总是高高在上的姿态，忽视身边普通人的感受；总是以‘现实无奈，别无选择’为借口，来推卸各种应有的责任。“其实，生活中的我们都是有选择的。你可以选择光明，也可以选择黑暗。”洪晃坦言：

每一个人的生活，不管你是精英社会还是底层的，都有它非常尴尬的地方，而且非常不想让大家知道的地方。

希望中国的精英人群多一些社会责任感，在不断追求更成功的道路上，在物质生活得到极大满足的同时，多一些对普罗大众生存状态的关注。

比如，你可以选择既不吃海参也不吃鱼翅，因为要保护环境；也可以选择把这些钱捐出去，帮助希望工程盖小学，这都是人的选择。其实，人生就是一连串的选择积累起来的。

尽管历经世事、身份多重，洪晃还是那个洪晃。无论是那个在纽约留学时，为了节省电影票钱精打细算的文艺爱好者；还是现在这个舍不得住小说中需要描写的奢华酒店，只能恳求前台让她去套房看两眼的创作者……每个生活阶段，她都有自我的坚持。在生活中，无论是爱情还是友情，社会阶层和身份背景的差异是从来不是她在意的事情。“我不太喜欢包装，因为我觉得最美的东西还是最真的东西。”洪晃如是说。

《中国日报》全英文专访洪晃：热衷于装扮的人类，如何让时尚与环境握手言和？

If there’s one person to turn to if you want to learn the straight facts about China’s fashion industry, it’s media mogul Hung Huang.

As the CEO of China Interactive Media Group and editor-in-chief of fashion magazine iLook, the publisher, book author, blogger, television host, and actress was named one of the “100 Most Influential People in the World” by Time in 2011. She is often called “China’s Oprah” in Western media, but anyone familiar with her knows that you don’t need an Oprah comparison to get a sense of her massive influence in China’s media and fashion industries.

In addition to her business acumen, Hung (also sometimes written as Hong) is well-known for her outspoken commentary on Chinese society, culture, and politics. Despite the fact that she comes from a politically elite background (her mother taught English to Chairman Mao and her stepfather was the Minister of Foreign Affairs), her willingness to speak her mind openly on any topic has earned her a staggering 10.9 million followers on Weibo.

Hung is also a tireless supporter of the development of Chinese designers. In 2010, she opened Brand New China, a fashion boutique in Beijing dedicated solely to Chinese labels that features brands such as Masha Ma, Yang Du, Chictopia, and this year’s Woolmark Asia winner VMajor.

This doesn’t mean she shies away from discussing the challenges faced by Chinese designers, however. Instead, she takes a “tough love” approach, often commenting on things she believes they should improve upon in order to gain more commercial success. To learn from Hung’s expertise about the Chinese fashion industry, we recently held an exclusive interview to hear her thoughts on the Met’s new Costume Institute exhibit, China’s anti-corruption campaign, Anna Wintour, and why Chinese designers should embrace tradition.

精奢商业日报2015年专访洪晃Since you founded Brand New China, how has demand for fashion by Chinese designers changed, both in China and globally? Chinese designers have become much more accepted in the market. I do not have a number for you in terms of market share or total sales volume. I am sure it is still very small when you think of the total Chinese fashion market. But independent designers are all the rage these days, so they are getting a lot of publicity; some of them are quite well known already, although not quite household names.This year’s Costume Institute exhibit at the Met is called “China: Through the Looking Glass,” but it’s actually focused on Western designers’ use of Chinese elements. What do you think of their decision to make it mainly about Western designers rather than Chinese ones? It’s not about Western designers, it is about the influence of Chinese film on Western fashion designers. It is about cross-cultural pollination, which is fantastic. I know people think it should be about young Chinese designers, but  in my opinion, young Chinese designers have not found their own language or voice yet. The day will come, but just not yet.Are there any differences in the way Western designers incorporate Chinese aesthetics in their designs compared to the way Chinese designers use them?I know very few Chinese designers who work with Chinese fashion design tradition, draw inspiration from China’s past. I know even fewer of them who do it well. Most Chinese designers draw their inspiration from the West, from Boy Scouts to American sportswear.For those who do draw from Chinese fashion tradition, Western designers see the glamour in Chinese fashion; a lot is translated into evening wear. Chinese designers see day-to-day wear: for example, Zhang Da’s Boundless has dived into the “cotton padded coat” from the past; he has revived the garment to be a thoroughly modern day wear piece.I think if Chinese designers focus on Chinese tradition, they will be able to breathe more life into it. Whereas, Western designers will allow Chinese tradition 15 minutes under the spotlight.When Anna Wintour visited Beijing in the fall and was asked about what she thought about China’s fashion design scene, she said, “I don’t see the growth here yet.” How would you respond to this assessment? I don’t think there is anything wrong with what Anna said. She was just being honest. I suppose the Chinese press were waiting for some encouraging words from the power-that-be.I agree with her. I don’t see a trend yet in a unique Chinese sensibility to fashion built on modern-day life in China. Most Chinese designers are trying to win applause in Paris and Milan. They are looking outward, not inward.But honestly, great design comes from great cultural understanding and a fashion interpretation of the values upheld by a society. If  you look at Prada, who knows the values and aesthetics of the bourgeoisie better than Miuccia Prada? That’s why she can have fun with it, turn it upside down and inside out. That is why “the devil wears Prada.” Look at Yamamoto, it is clearly a Japanese sensibility, and Comme des Garçons as well. But Chinese designers can be from New York, Paris, or Milan. They don’t have their own design language.Chinese designers have been appearing at top global fashion weeks and are increasingly being sold in major department stores across the world. Do you expect their status to keep increasing in the international fashion world?Yes I do. Not being critically acclaimed does not mean you do not have commercial success. And sometimes, commercial success will lead to critical acclamation, one might hope.We’ve heard a lot about how China’s anti-corruption campaign has affected typical “gifting” items like watches and spirits, but has there been a significant effect on fashion?Yes and no. High-end fashion has been affected. People feel less secure, so they buy less. Mistresses are fleeing, so they buy less. Wives are insecure about the future, so they buy less. But the middle-class spending is fine; in fact, it has shown an increasing interest in local designers and individuality.There’s been a lot of news about the decline of “bling” among Chinese consumers. How widespread is this trend and what is replacing bling? When bling was still raging on, we detected a strong counter-culture in the “drop out.”  This is trending quite a bit. Drop out might not be the right work because it has a negative connotation. But what happens is affluent, well-to-do urban white-collar people are leaving the corporate world to pursue their own interest, be it cooking, ceramics, education, or craftsman studios. They have basically said “no” to the bling values and have chosen a simpler, yet elegant lifestyle.This is trending; I expect it will be totally mainstream in a year.Who are the top Chinese designers you’re watching right now? I am very fond of “ZUCZUG” by Wang Yiyang and “Boundless” by Zhang Da.

Hung Huang 洪晃 is Chinese-born American living and working in Beijing as a writer, feminist and internet influencer.

Huang was born in Beijing, she went to New York for high school when she was 12 on a Chinese government program for training the next generation of diplomats for China. She returned to China and worked in Radio for three years. She then left China again on a scholarship from Vassar College. She graduated from Vassar in 1984 with a B.A. in Political Science.

Upon graduation, Huang worked for various American companies who were developing a growing interest in China including AIG and its subsidiary Kamsky Associates, a consulting firm which focused on China business. She later joined Metallgesellschaft (MG), a German metals trading company. During this time, Huang not only worked as MG’s Chief Representative in China but also in its New York office as the head of MG’s countertrade division.

In 1994, Huang joined a group of Chinese professionals to for  Standard International Asset Management Company. Standard International managed funds and consulted foreign companies from different industries on investment strategies in China in the 1990s, Huang has worked on different projects ranging from automotive industry to food and finance.

In 2000, Huang became the Publisher and shareholder of an independent maganzine iLOOK.  iLOOK was a flagship magazine in local fashion and culture for 15 years. In 2010, Huang also created BRAND NEW CHINA, the first concept store in China which sold products by Chinese designers.

During the same time, Huang was actively working as a writer, not for her own magazine but for popular weekly magazines such as Sanlian Life Magazine 《三联生活周刊》and Southern Weekend 《南方周末》。She started writing a blog around the same time and became one of the top 3 bloggers on sina.com in views. She also hosted two evening talk shows on Chinese television.

Huang’s internet writing went from blog to weibo, where she remains one of the most influencial woman on Chinese social media with 14.7 million followers. In 2011, Time Magazine named her as one of 100 most influencial people in the world. In addition to Weibo,  Huang is very active on Chinese social medial platforms including tic tok, Himalaya and Toutiao. Due to her experience in fashion and her interest in empowering women in China, she is often invited to speak at forums such as APEC women, UN women as well as corporate forums for companies such as L’Oreal and Christian Dior.

Huang has published three collections of her essays. In 2019, she published her first novel. Huang is working now on a documentary series about gentrification of the Chinese village where she lives today.  Huang lives with her partner and their daughter in Beijing.

洪晃──本人更比杂志火

朋友们都称她是中国的奥普拉•温弗瑞(Oprah Winfrey)。

她就是洪晃。身为中国互动媒体集团(China Interactive Media Group)首席执行长的洪晃掌管著三本时尚杂志和一个卫星电视节目。而对许多中国人而言，真正吸引他们的是洪晃本人。

这位聪敏、务实的媒体高管从来就不乏热点：在过去几年中，她推出了中国最受欢迎的博客站点之一，在一部女权主题的电影里担任角色，还联合主持了一个电视访谈节目，虽然这个节目没能持续很长。她的评论频频被其他媒体转载。

洪晃的经历彰显出中国媒体行业的巨变，以及中国职业阶层品位的变化。当洪晃2000年接手第一本杂志《世界都市》(iLook)时，这本面向女性的精装刊物正面临经营的困难局面。她回忆说，当时希望将《世界都市》的客户群瞄准对时尚感兴趣的知性女人，但当时没人对此感兴趣，女性想了解的除了品牌还是品牌。

因此洪晃决定将《世界都市》的定位对准主流读者。现在，它已是中国业绩最好的独立经营的杂志之一，虽然较《大都会》(Cosmopolitan)等与中国官方媒体联合出版的海外杂志中文版还有差距。

消费者口味的变化深深影响著洪晃个人的兴趣。她说，随著女性时尚杂志的大量涌现，越来越多的精英读者不仅仅满足于了解时尚。6年前人们想的是：如何让我的钱包鼓起来?现在有10%的人已经做到了这点。因此他们希望获得更深层次的信息。他们想了解设计背后的灵感、设计师、艺术家本人，还有其他艺术的东西。

与此同时，洪晃机智、调侃式的评论风格风靡一时，她也为人们开启了了解中国特权阶层的窗口。这在崇尚个人魅力和轻松话题的受众中引起了共鸣。

雅诗兰黛公司(Estee Lauder Cos.)中国区经理沈祥梅(Carol Shen)说，洪晃就像是中国媒体现状的代言人，她具有很强的洞察力，对其他人理解中国的媒体有很大影响力。雅诗兰黛是《世界都市》的广告客户。

洪晃经常会在她位于北京新兴艺术区的那座仓库改造而成的公寓里举办明星云集的聚会。在最近的一次晚宴上，一直对中国很感兴趣的知名导演奥利弗•斯通(Oliver Stone)听中国客人谈文化大革命中的经历。英国设计师保罗•史密斯(Paul Smith)则是另一次晚宴的嘉宾，他同摇滚歌星崔健等中国艺术家和外国企业家及记者一起品尝了Moet香槟和烤肉。

她的母亲曾是毛泽东的翻译，她的继父在上世纪70年代担任过中国的外交部长。12岁时，她被选进中国政府的一个翻译学习班，进入纽约市的Little Red Schoolhouse学习，成为首批海外留学生之一。在获得纽约瓦萨学院(Vassar College)的政治学学位后，洪晃进入咨询企业甘维珍公司(Kamsky Associates, Inc.)工作，后来在北京担任德国金属公司Metallgesellschaft AG驻中国首席代表。其间，她曾有过两次婚姻，其中一次是与当时正在上升期的中国著名导演陈凯歌。1996年，她加入从事投资及咨询业务的标准国际管理有限公司(Standard International Management Corp.)，在该公司投资《世界都市》后，她开始参与这本杂志。

从洪晃在新浪网 Sina.com)上推出自己的博客后，访问量一直排前五位。在其中一篇文章中，她讽刺了陈凯歌对他执导的电影被恶搞而勃然大怒，这篇文章在她博客里的点击量最大。洪晃在文章中称陈凯歌“小肚鸡肠”，嗔怪她的朋友不该根据她与陈凯歌的婚姻来判断她的品位，还解释道，她出来说话是因为“我再憋著会得癌的。”

她的博客里有一个题为Ask Me的问答栏目还有其他一些短文，涉及澡缸位置(设置在马桶旁边实在不性感)和如何与恋人分手(她在文章里对一位被女友甩了的男士建议，将前女友的物品送回去或者烧掉，但可以留一件内衣)等各类话题。

现在，除了《世界都市》之外，得到标准国际支持的中国互动媒体集团还出版《青春一族》(Seventeen)的中文版和关于文化事件、餐饮购物场所及趋势的月刊《乐》(Time Out)。该集团还负责与《世界都市》和《乐》有关的一个卫星电视节目，内容是有关在欧洲或其他胜地度假的中国名人。聚焦中国医疗及教育体系弊端等热点问题的谈话节目因为收视率过低而在一年后被取消。

洪晃说，我们当时希望谈论知识分子看到的中国存在的问题，让通常在电视上没有话语权的人有发表看法的机会。现在我们知道他们没有话语权的原因了，因为他们不能提高收视率。

事实上，还是洪晃本人更吸引人们的关注。她的自传《我的非正常生活》从她的少年时期写到与陈凯歌的短暂婚姻，直到目前的生活，这本共卖出约20万册，网上书店当当网 dangdang.com)联合总裁俞渝(Peggy Yu)说，这在中国是个很大的数字。

俞渝说，我家保姆所在的群体不会知道洪晃，但我办公室的每个人都知道她。时装界的编辑密切关注她说的每一句话。当她的书出版时，每个人都想知道她是否提到或调侃自己了。

广州男性杂志《生活元素》的总编Alice Ou说，多年来她一直在关注洪晃个人及其事业的发展，有时也从洪晃经营《世界都市》的方式中寻找灵感。她说，在《世界都市》，洪晃从全球视野出发思考中国人的问题，她在商业方面非常成功，也善于发掘各种可能性。

洪晃并不满足于现在取得的成功。她正希望利用她的知名度和对不同媒体的兴趣打造内容提供商的品牌。她说，新的重点将是手机和互联网内容，如有关餐馆的评论和针对中国白领阶层枯燥生活的幽默动画等。

至于是否应该尝试或正式将自己定位为中国的奥普拉，洪晃的感觉很复杂。她在公寓中喝著咖啡说，如果真有人能做到，那我就是一个，因为我能同中国的草根阶层对话。如果说我没看到其中的商业机会，那我就是瞎了。但在我个人看来，这需要慎重考虑一下，因为那样你要整天出现在娱乐版面上，而我始终认为我需要掌握讯息，而不是成为娱乐明星。

不过，她承认，在其跨媒体扩张计划的背后，是她认为对在中国竞争极其激烈的媒体行业取得成功至关重要的一个基本信条，那就是：要想法设法让自己成为一个品牌。

推荐关注

回复“号内搜”，快捷搜索