YSTYLE EXCLUSIVE: Asia gets its big moment in fashion

There aren’t many fashion maisons among Asian designers, at least not the types that are passed down from one designer to the next in the manner of Chanel, Balenciaga and Dior. The only one that comes to mind is Kenzo, established by Kenzo Takada in the ‘70s, which is now being run by Opening Ceremony’s Humberto Leon and Carol Lim with resounding success.

In the ‘80s and ‘90s, Asian designers made a splash and quickly established their own following: Comme des Garçon’s Rei Kawakubo and Yohji Yamamoto were cult favorites during pre-Internet days, when there was a distinction between people who bought designer clothing and people who shopped at Old Navy (and ne’er the twain did meet). Vera Wang was coveted for her exquisite wedding gowns (she still is), while Anna Sui was sought after for her boho-chic look that was heavy on the chinoiserie prints.

However, back then, their clientele was still considered a niche market. While their talent and heritage set them apart in the international stage, a world that hadn’t yet been globalized kept them from going mainstream. In the last few years, though, the tide has turned in Asia’s favor. The thriving markets of China, Singapore, Korea, Hong Kong and Japan have the West paying attention to the whims of a new customer with eager spending power.

All of a sudden, Alexander Wang was placed at the helm at Balenciaga. Phillip Lim inked a major collaboration deal with American mass retailer Target. Jason Wu regularly dressed FLOTUS Michelle Obama and recently took over at Hugo Boss. Rafe Totengco handled women’s accessories at Nine West. Kering took a minority stake in half-French, half-Chinese designer Joseph Altuzarra’s independent label. All this while Asian models like Liu Wen booked major campaigns for Estée Lauder, Coach and Victoria’s Secret, and Fei Fei Sun and Soo Joo Park became bona fide street style icons.

While new blood, along with business and social media savvy, have brought these young Asian designers to the forefront, it’s interesting to hear from those who saw it all happen from the very beginning. Josie Natori, our hometown hero who left for New York in the ‘80s in order to establish her own brand of luxe loungewear, is largely credited with making the caftan the item du jour in every closet of any woman worth her salt. Vivienne Tam, on the other hand, was one of the early pioneers of mixing fashion with art in the ‘90s with her seminal “Buddha” collection that can still be found today in The Andy Warhol Museum, The Metropolitan Museum of Art and the Victoria and Albert Museum in London.

I wait for Josie to arrive while sitting in her Madison Avenue showroom, her latest collection on display. When she arrives, she is clearly in high sprits, holding up the cover of Women’s Wear Daily, which featured a look from her collection a day after the show. She has just rushed in from meeting a couple of her top clients — “One woman walked out with 12 pieces!” she exclaims. Three years ago, Josie decided to expand her line to include RTW, having started as a collaboration with Saks Fifth Avenue. Neither party knew what to expect, since it was clearly a jump from what she was known for.

“Even though we have been in the business for so long — almost 37 years — in ready-to-wear, clearly we’re the new kids on the block here,” she says. This collection was inspired by Russia — think structured coats, heavy furs, a somber palette of mostly grays and blacks, with a bit of red and cream thrown in. It’s a far cry from her dainty, embroidered lingerie, but critics, as well as her customers, are loving it. “For a designer who built her name on pretty negligees and underpinnings, Josie Natori can cut a mean coat,” Brittany Adams of Style.com wrote.  

On the other part of the city, in the famed Garment District, a cool Vivienne Tam sits before me in a geometric print coatdress from last fall/winter. Not even the designers themselves get first dibs on their newest pieces, it seems. Behind me are her ‘70s-inspired handbags. “This is the first time that a full collection (of handbags) has been presented,” Vivienne’s director of marketing, Alan Wang, tells me. Already, The New York Times singled one out as part of the “standout accessories” of the season. “I’m very much about the working woman,” Vivienne tells me. “The inside of the compartments are very important for me. I’m very considerate to make sure there’s enough space and that it’s very easy to access.”

She shared similar musings with her fans on WeChat, a messaging app developed in China, similar to WhatsApp and Line. On the day of her show, Vivienne Tam gave out limited-edition iPhone 5/5s cases with QR codes that automatically subscribed WeChat users to VTamFashion, affording them front-row views of the live show, exclusive backstage content and the opportunity to chat with Vivienne herself. My photographer for the day, Stylebreak blogger Laureen Uy, already had it, having helped promote it on her blog a while back. (Officially rendering me as the only person in the room who didn’t have some sort of collab with WeChat.)

The partnership with WeChat was curiously launched during a rather controversial Fashion Week, due to the fact that IMG announced that it would be cutting bloggers from designer guest lists. “That’s not a good idea because fashion is about reaching out to customers and inspiring other people. I don’t understand that. It takes away the excitement completely. Everybody wants to see the fashion shows immediately,” Vivienne says, adding, “I’m not worried about the copying.” Josie Natori, on the other hand, acquiesces that IMG’s reasoning is, in some ways, legitimate. “Some of it has gotten out of hand, although there are some good ones and are legitimate. People seek and respect their opinions. I think the traditional kind of marketing is not where it’s at; the Internet is a game-changer: Bloggers are put in the front row and editors are at the back!” (Laughs)

In those days, when front-row seats were the uncontested property of editors and buyers, being an Asian designer always raised the expectation of an East-meets-West sensibility. But for Vivienne, whose womenswear celebrates 20 years since its launch in 1994, the aesthetic is part of her brand DNA, as seen in her current collection, which is inspired by the cave temple murals of DunHuang in China. “I went there 30 years ago and I loved it so much. I fell in love with the fractals, the wall paintings; it was so spiritual. I found that I had so many ideas — not just enough for one season,” she says. For her, the East-West aesthetic is never going to be tired. “Sometimes you repeat it, but you repeat it differently too. Even though it’s a similar theme, it will be interpreted differently,” she explains.

It’s the same for Josie — though the Eastern references aren’t as apparent, they’re visible upon closer inspection: a kimono sleeve on a black, tailored coat, and oriental patterns cutout on a red dress. “It doesn’t mean it has to look like Chinatown. Look at the jacquard pattern embroidery, the fortune cookie shape, the sleeve and pattern, as well as the origami. We’re very much influenced, but not blatant at all,” she says. In fact, the most blatant of her Asian influence is the most subtle of all: “I think we have a craftsmanship that we offer only in the Philippines, and I am very proud of that.” 

Moving forward, both women are intent on expanding their respective empires. Last year, Josie relaunched the Josie by Josie Natori line, which caters to a younger market, as a total lifestyle brand that includes home, bedding and accessories and will be introducing a fragrance in the fall. “That customer doesn’t want to dress up like her mom, doesn’t want to shop where her mom shops,” she observes. Her RTW appears poised to garner as much customer loyalty as her loungewear, along with her accessories, which were also a hit with her clients. After nearly four decades in fashion, the Josie Natori brand is still thriving. “I feel like we’re on the right track, but we’re always learning and listening. I think that’s very important; never sit still,” she says.

Vivienne Tam, on the other hand, will continue her womenswear line, while building on the success of her debut handbag line. “Every season will be different, of course. We’ll have some iconic details that will remain the same, but we’re adding new pieces,” she says. “I’m also working on the second jewelry line at the same time with lifestyle and home products. Sometimes it takes time and the right strategy. I just want to make it right with the right partners, just like the handbag line. Hopefully you’ll see these next season, if not the season after.”

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Josie Natori and Vivienne Tam are exclusively available at Rustan's Department Store.