This paper looks at the social space of Shanghai in the 1930s through the film sets design of New Woman to understand the way in which left-wing ethos at the time distinguished and shaped the social gender. In both national and economic crises, the shaping and calling of a “new women” in left-wing films was closely related to the realities that Chinese society was facing at the time. The several “new women” distinguished by sets in the film were the imagination of femininity of left-wing male intellectuals, but the modern and revolutionary temperament reflected in them overlapped with the subjectivity of the nation-state in the National Goods Campaign. It incarnates as a new cultural gender, and plays the role of actors and constructors on the road to the development of modern Chinese design.