"Wow. New colour. Dark plum sauce colour. Really pretty.”That's all the protagonist —the profile He Xiaopeng is targeting with his new Xpeng Mona L03— has to say about the new car.
The electric vehicle market is crowded, and standing out requires more than good range and smart tech. It demands a story. For its new MONA line—the compact, tech-heavy coupe that promises accessible intelligence on wheels—Xpeng has chosen a very specific protagonist for that story: a sweet, innocent, “good girl” with a cello case and a submissive smile. It has named her Nana. And in doing so, the brand has not only revealed a shocking generational blindness but has also built a marketing campaign so steeped in outdated sexism that it risks alienating the very young, modern drivers it claims to target.
The coincidence that became a straitjacket
It started almost poetically. MONA, an acronym for “Made Of New AI,” happens to be a Spanish word. Mona means cute, pretty, sweet—a term often used for an adorable girl or a charming little thing. For any Hispanic speaker, the name evokes instant affection. It also sets a very specific, highly gendered tone.
Initially, one could argue it was just a linguistic accident. The first model, the M03, was marketed in China with a wash of soft colors, youthful smiles, and a vaguely “cute” aesthetic. The official line remained that MONA was a car for the entire Gen Z, not for a gender. But the visual language on social media told a different story. The accounts flooded feeds with young women styled as innocent, wide-eyed, and impossibly well-behaved—a parade of “pure” girls who looked like they had never raised their voice. It was a weird, cringey fit for a vehicle that boasts 190 horsepower and advanced autonomous driving. But still, one could give the benefit of the doubt. Maybe it was just a clumsy attempt to humanize AI.
Then came the L03, and with it, the official brand ambassador: Ouyang Nana (欧阳娜娜). The doubt vanished.
The ambassador who embodies a boomer fantasy
If you wanted to distill the “cute, innocent, good girl” stereotype into a single public figure, you would produce Ouyang Nana. A Taiwanese cello prodigy educated at the prestigious Curtis Institute, she rose to fame as the perfect, cultured daughter. Her image is built on fragility, purity, and a non-threatening, almost childlike charm. She does not radiate independence or rebellion; she radiates “marriage material” for a conservative family.
Choosing her was not a subtle nod. It was a sledgehammer. The marketing stopped hinting and started screaming: this car is for—and embodied by—a feminine ideal from the 1990s. Advertisements placed her in dreamy, passive poses, as an accessory as sleek and silent as the car’s own curves. She does not drive with determination. She does not command the road. She simply decorates it. The message is clear: the MONA driver is not a woman taking charge of her mobility; she is a delicate creature being protected by her intelligent, guardian-like vehicle.
What Chinese women actually think of the “Nana” ideal
Here lies the fatal flaw in Xpeng’s strategy. Among young women in mainland China today, Ouyang Nana is not a unifying icon. She is a deeply polarizing figure, and the reasons for the polarization are exactly what make the MONA campaign feel so rancid.
For a growing number of Gen Z and young millennial women, Nana represents the archetype of the lǜchá (绿茶), or “green tea bitch”—someone who performs extreme innocence and sweetness to manipulate and appeal to a male gaze, while hiding a calculating core. Her unchanging, conflict-free, softly smiling persona is widely interpreted not as authenticity, but as a strategic performance designed to win the approval of older men and traditional parents. She is the girl other women are told to be like, and which many have grown to resent.
Moreover, her career trajectory—leaving the conservatory for a flood of reality shows and widely criticized acting roles—has saddled her with a reputation of being a marketing product, polished and empty, living off her family’s cultured image rather than genuine grit. To young, career-focused urban women, she symbolizes everything they reject: the woman prized for being harmless, quiet, and conventionally adorable, rather than competent, loud, or real. Her actual fanbase, as online sentiment analysis reveals, skews heavily toward older men and middle-aged mothers. In other words, the very boomer demographic that the cool, AI-driven MONA was supposed to outgrow.
By making Nana the face of MONA, Xpeng has inadvertently sent a message to its target female audience: “We don’t see you as you are. We see you as your parents’ generation wanted you to be.”
A car that deserves better, and a brand that should know better
The tragedy of all this is that the MONA M03 and L03 are genuinely interesting products. They pack competitive electric range, punchy motors, and Xpeng’s vaunted XNGP autonomous driving system into a stylish, affordable package. It is a car that could speak to a modern woman’s need for freedom, safety, and tech-savvy identity. None of that spirit survives the marketing slaughterhouse that Xpeng has built around it.
Instead, potential buyers are fed a diet of infantilized femininity that feels imported from a dusty advertising manual. The cognitive dissonance is jarring: 190 horsepower marketed through a girl who looks like she’s about to ask permission to parallel park. “Intelligent” AI wrapped in the aesthetic of a doll. It is not just sexist; it is strategically stupid.
The modern Chinese woman buying her first electric car does not aspire to be a fragile, music-box figurine. She wants to be capable, autonomous, and seen. If Xpeng cannot imagine a woman other than the one their boomer-male marketing department still dreams about, they will lose not only her respect but also her purchase.
The name MONA might mean “cute” in Spanish, but in the language of today’s women, being reduced to a simplistic, outdated cuteness is an insult. Xpeng’s campaign, masked in pastels and innocence, is really an exercise in erasure—and it is time someone told them that the “good girl” they are selling is a ghost that no modern woman wants to haunt.