Brand, Identity and Reputation: Exploring, Creating New Realities ...

The Role of Communication in Establishing Asian High Fashion Brands in the West
Benaliza Loo, Royal Holloway University of London, UK
Chris Hackley, Royal Holloway University of London, UK
Introduction
This paper explores the role of communication in establishing an Asian high fashion brand in the West. It draws on a
wider qualitative study of the internationalisation of South East Asian high fashion brands to focus on four leading
Malaysian designer brands: Zang Toi, Bernard Chandran, Melinda Looi and Jimmy Choo. Findings suggest that key
issues include choice of brand name, consumer perception of value and quality, English language competence and
ability to adapt to local culture, clarity of communication with internal and external networks, excellent and innovative
brand identity, and astute use of media, showbusiness and other integrated marketing communication channels.
Limitations and future research directions are discussed.
Research in High Fashion Brand retailing
The relatively under-researched marketing area of global high fashion is deserving of serious attention from researchers,
not least because it has sustained one of the highest annual growth rates of any industrial sector over the past ten years
(Okonkwo, 2007). Hines and Bruce (2007) suggest that fashion mixes aesthetics, technology and business, and crosses
boundaries between marketing and the cultural industries. There are many definitions of ―Fashion‖ and each definition
encompasses different aspects, such as garments, clothing, apparel, glamour, trend, style or an individual‘s distinctive
identity (Remaury, 1999; Niessen et al, 2003; Easey, 1995; Bruce et al, 2004). The concept of fashion in this paper is
predominantly focused on clothing, which becomes ‗fashion‘ through branding. In particular, the study focuses not on
mass market or high street fashion but on the establishment of ready-to-wear designer ranges by Haute Couture Houses
(Sorenson, 1995), hence the ‗high fashion‘ designation for this research. These categories are not unproblematic. In
some cases, the fame of the ready-to-wear range means that the designer is then commissioned asked to make more
couture. In other words, the process of brand building can occur in reverse, not from haute couture downwards, but
from designer wear upwards. Giorgio Armani for example, decided in 2005 to begin showing haute couture for the first
time (Tungate, 2005). High fashion designers establishing their brands typically have one prestige flagship retail store
in a major capital city consistent with Jackson and Shaw‘s (2001) taxonomic category of the ― ‗Single Independent‘
store, and they typically rely heavily on the prestige of the key designer as a personified brand.
The branding of high fashion dates from the mid-nineteenth century in Paris when the couturier, Worth, branded his
designs in order to discourage counterfeiting (De Marly, 1980). Western high fashion brands have enjoyed global
success as Gucci, Louis Vuitton, Prada, Gianni Versace, Calvin Klein, Dolce & Gabanna among many others are now
hugely popular in South East Asia. There have been some notable successes in the opposite direction with Asian high
fashion brands becoming recognised in the West but these successes remain uneven in origin, exceptional and relatively
small in number. Moore et al (2000) have highlighted that ‗designer‘ brands has been a neglected area in the
international retail branding literature. Among the Asian high fashion brands that have been successful in the West,
most have historically been from Japan and Hong Kong (Niessen et al, 2003: 216; Pointer, 1998). Other successes
include Andrew Gn from Singapore, Thakoon Panichgul and Nagara Sambandaraksa from Thailand, Zaldy Coco from
Philippines, and Oscar Lawalata and Irsan from Indonesia (Chin, 2005, Niessen et al, 2003). However, it is surprising to
discover that, among South East Asia, the internationalisation of Malaysia high fashion brands is at the forefront. The
increased development of internationally successful Asian brands is clearly dependent on stronger branding (Roll 2006:
Temporal, 2006) and this needs to take into account of many factors especially the consumers‘ sense of the uniqueness,
value and quality of the brand identity (Chernatony and McDonald, 2003; Aaker, 1996). It is therefore interesting to
take some leading Malaysian high fashion brands as exemplary cases of successful internationalisation in this
competitive and growing field.
Method
Following Yin (1994), Hackley (2003) and Miles and Huberman (1994) this study deployed a qualitative case study
approach in seeking rich contextual descriptions and insights in this previously under-researched area. Interviews were
conducted between December 2006 and September 2008 in the interviewees‘ business premises in Kuala Lumpur,
Singapore, London and New York, and were digitally recorded, transcribed and analysed according to qualitative data
analytic principles of coding, thematic interpretation and triangulation through extensive secondary information about
the companies‘ activities. Sampling was purposive and focused on leading Malaysian designers since these have been
the most successful of all South East Asian brands in establishing in the West.
Findings: the value of publicity
High fashion branding is driven by publicity (Sorenson, 1995) which in turn generates word of mouth, but founded on
strong brand values. Establishing a new high fashion brand normally entails heavy investment in a production facility
and line of products, a flagship retail outlet, and presence at the right fashion shows. The catwalk shows are the main
platform for designers and the goal is to get noticed by fashion journalists and other influential individuals. If
successful, this creates momentum for the brand through publicity and, if the designer is lucky, celebrity endorsement if
their brand is chosen to wear by stars at public occasions, generating even more publicity. Contacts and connection to
industry networks are essential to facilitate the publicity. For example, Vogue magazine fashion editor Tamara Mellon
took up the cause of Jimmy Choo shoes and did much to enhance their image. Princess Diana then began to favour
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