大白兔奶糖火到国外！糖纸设计成“神来之笔”，网友：始于味道，忠于包装

你没看错，这两天在海外社交媒体上刷屏的，不是中国高铁，不是国产游戏，而是一张大白兔奶糖的糖纸。

The wrapper of a six-decade-old Chinese milk candy has become an unlikely social media sensation in the West, with experts saying its popularity reflects growing global interest in distinctive Chinese aesthetics.

一颗奶糖的“逆袭”

大白兔奶糖诞生于1959年，是几代中国人共同的童年记忆。在那个物资匮乏的年代，糖果是稀罕物，大白兔更是“奢侈品”——坊间流传“七颗大白兔等于一杯牛奶”的说法，足见其在国人心中的地位。

White Rabbit, a household name in China since its launch in 1959, emerged at a time of material scarcity, when sweets were a rare luxury. Although the times have improved, its packaging has remained virtually unchanged.

图源：@大白兔快乐分享

然而，这次让大白兔火出圈的，不是味道，而是包装。红底上一只席地而坐的白兔，两侧点缀的也是蓝白相间的兔子图案——这套经典配色和简洁构图，早在1983年就曾斩获第一届全国包装装潢设计优秀奖。如今，它跨越了半个多世纪，再次击中年轻人的审美。

The wrapper, featuring a seated white rabbit against a red background and framed by blue-and-white rabbit motifs, which won a national packaging award in 1983, is now drawing millions of views overseas.

一条推文引爆全网

这场风潮始于一条推文。8月5日，海外社交媒体平台X用户“weeabob”发帖称赞大白兔糖纸是 “平面设计的神来之笔”。目前，该帖已获得约600万次观看和26.5万次点赞。

A post made on social media platform X on Wednesday, describing the wrapper as a "masterstroke of graphic design", has garnered about 6 million views and 265,000 likes since.

评论区随即被网友的创意淹没——纹身、T恤、数字拼贴画、手机壳……各种以大白兔为主题的二创作品层出不穷。这股热潮还蔓延到TikTok和Instagram，甚至带动了人们对其他中国复古包装的兴趣。

The comments section has been flooded with user creations — tattoos, T-shirts, digital collages and phone cases, all featuring the iconic white rabbit.

The trend has also spread to more platforms such as TikTok and Instagram, reviving interest in other vintage Chinese packaging.

海外网友评论截图

帖主本人也懵了，在周四发文感叹：“我获赞最多的推文是关于这款很棒的中国糖果的，对此我没意见。”

The author of the post, weeabob, who joined Twitter — the former name of X — in 2009 and has more than 13,000 followers, wrote on Thursday, "I'm fine with my most liked tweet being about this wonderful Chinese candy I guess."

专家解读：为什么是它？

中国人民大学新闻学院教授张迪从传播学角度分析了这一现象：

从传播学角度看，驱动因素主要有两点。

第一，大白兔糖纸的视觉语言——原色配色、简洁构图、动物图案——不依赖特定文化背景即可被解读，具备跨文化的审美普适性，这是它能够引发非华人受众共鸣的内在基础。

Zhang Di, a professor at Renmin University of China, who studies cross-cultural content diffusion, attributed the wrapper's immense appeal to its visual language — bold primary colors, a simple composition and animal motifs — which he said requires no specific cultural knowledge for interpretation and is aesthetically accessible across cultures.

第二，海外社交平台的算法机制，将华人离散社群原本在小圈子内流通的内容推送给更广泛的受众，形成了一定规模的扩散效应。

两者叠加，使得原本属于特定族裔记忆的产品设计，获得了超出原有社群边界的关注。

Zhang also cited algorithmic recommendations as a key driver, noting that social media platforms have pushed content from Chinese diaspora communities to broader audiences. "That has brought attention to a product design rooted in a particular community's memory far beyond its original boundaries," he said.

“ChinaMaxxing”风潮下的中国文化热

清华大学新闻与传播学院教授史安斌则将这一现象置于更宏大的背景下。他提到，近年来海外年轻人中兴起了“Becoming Chinese”和“Chinamaxxing”风潮，从喝热水到穿凉拖，他们主动拥抱中式生活方式。

Shi Anbin, a Tsinghua University professor, who studies China's cultural influence abroad, linked the craze to what he described as a broader or movement on social media, in which young people overseas have embraced Chinese lifestyle practices ranging from drinking hot water to wearing casual sandals.

中国传媒大学电视学院教授吴炜华从青年文化视角指出，大白兔糖纸的走红，折射出海外Z世代对中国美学的认同感正在日益加深。在AI内容生成泛滥的时代，那些承载文化底蕴的复古设计，反而更能击中年轻人的情感共鸣点。

Wu Weihua, a professor at the Communication University of China specializing in digital media and youth culture, said the wrapper going viral reflects Generation Z's growing appreciation for Chinese aesthetics. He added that vintage designs with cultural depth can strike an emotional chord in an era dominated by artificial intelligence-generated content.

大白兔的“海外往事”

实际上，这并非大白兔首次走出国门。

1972年尼克松访华时，大白兔奶糖就曾引起美国客人关注。此后，上海厂家将其出口到美国复活节市场，成为当时的“网红”伴手礼。

White Rabbit's popularity overseas is not without precedent.

In 1972, during then United States president Richard Nixon's visit to China, the candy attracted the attention of US visitors. Shanghai manufacturers later exported it for Easter celebrations in the US, where it became a novelty at the time.

史安斌指出，大白兔的设计半个多世纪几乎未变，却依然能打动不同代际的人。这说明，真正原创的、不受西方风格影响的中国设计，是可以跨越代际和文化隔阂的。

Shi, from Tsinghua University, noted that the wrapper has changed little over the past six decades, and yet, it continues to resonate with the masses. This staying power, he argued, suggests that original Chinese designs — free of Western stylistic influence — can bridge both generational and cultural divides.

外国消费者看惯了欧美包装风格，大白兔的设计完全不受其影响，“民族的才是世界的”。

Foreign audiences are accustomed to US or European packaging, but White Rabbit's aesthetics, by contrast, stands apart as something distinctly its own, he said.

图源：视觉中国

老字号的坚守与远见

对于大白兔这样的老字号，史安斌认为坚守原创比追逐潮流更重要。

Shi contended that heritage brands are better served by preserving their originality.

他以北京北冰洋汽水为例：上世纪90年代与百事可乐合资后，北冰洋品牌一度被雪藏，2011年恢复经典玻璃瓶包装后重新赢得市场。

史安斌认为，与其追求新奇，不如守住经典，让文化本身的魅力说话。

He pointed to Beijing's Arctic Ocean soda, which faltered after a joint venture with PepsiCo in the 1990s sidelined the brand, but rebounded after returning to its vintage glass-bottle packaging in 2011.

Rather than seeking novelty, such companies should remain true to their classic designs and let authenticity drive their appeal, Shi added.

热度过后，如何长久？

张迪认为，老字号在海外获得短暂的文化关注，并不意味着它必然能够赢得持续的市场认可。

根本上，能否建立长期的跨文化影响力，取决于品牌能否真正为外国消费者创造价值——无论是产品本身的口味、品质，还是消费体验的便利性与适配性。

文化热度可以打开一扇门，但留住消费者靠的是产品力，而非情怀叙事。

Zhang, from Renmin University of China, said that short-term online buzz does not guarantee lasting market recognition and that product fundamentals — taste, quality, convenience and adaptability — are what ultimately retain customers.

因此，老字号出海的核心任务，不是放大这次偶然的曝光，而是借此机会认真研究目标市场的真实需求，将产品做得更贴近当地消费者，这是将短暂热度转化为持久资产的可靠路径。

He advised heritage brands to use any current attention to study target markets and, accordingly, adjust their offerings.

图源：@大白兔快乐分享

一张糖纸，折射的不仅是一代人的集体记忆，更是一个国家文化出海的微小注脚。

而对于大白兔来说，这波“泼天流量”过后，如何把故事讲得更远、更久，会是真正的考验。

你爱吃大白兔奶糖吗？你还见过哪些惊艳到你的中式包装设计？评论区分享！

记者：李磊

编辑：夏梦晨

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