The history of Hong Kong fashion

Image inspired by Connie Chan Po-chu

During the swinging 60s, Hong Kong’s economy really began to flourish with fashion buyers from all around the world coming to our city to buy fabrics and place orders on completed designs. “Hong Kong was picking up on an influx of international information and started making garments for a lot of international brands,” says Au. In 1966 the Hong Kong Trade Development Council (HKTDC) was set up to create a platform to bring manufacturers, designers, buyers and traders all together, which helped stimulate the garment industry and expand the styles of dress that were available.

“The mod look also started coming in and influencing the younger generation. People looked up to idols like Lam Fun, Siu Fong-fong and Chan Po-chu,” says Liu. The mod look was one of Connie Chan Po-chu’s signature styles, with her polka dot, pastel and colour blocking dresses all brought together by headbands. “At this time cheongsams were still in fashion but their popularity began to decline, while the desire to have Western-styled clothing grew exponentially and tailors adapted to their skills to meet the demand,” says author/editor Janice Wong, who recently released her second book, My Fashion Odyssey of 25 Years. London trench coats became all the rage (despite our city’s unforgiving weather) as did the appearance of miniskirts, A-line dresses, tight-knit pants and blouses. More masculine silhouettes started appearing in womenswear while Chan started taking ass-kicking heroine lead roles in major films.

In 1968, the HKTDC and the Hong Kong Chamber of Commerce put on the first ever ready-to-wear festival, which showcased looks from local designers and manufactures. “It marked a period where people started to take an interest in fashion design. One of the first fashion designers in Hong Kong was David Shee-kwan, who went on to develop his manufacturing company called David & Davids,” says Au.

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Trench Coat Gucci, $29,500
Skirt Gucci, $11,500
Headband Stylist's own
Bracelet Stylist's own
Shoes Vintage Celine's from Once Style, price upon request

Inspired by Josephine Siu Fong-fong as Lam Ah-chun

The most significant change in this decade was the rise of local TV pop culture, spearheaded by TVB (commonly referred to as ‘Wireless Television’) and Rediffusion Television, which is now ATV. “Back then, TV stars were just as popular if not more popular than movie stars,” says designer and vice chairman of the Hong Kong Fashion Designers Association (HKDFA), Walter Ma. Ma gained tremendous popularity during this time with stars like Deborah Dik Boh-Laai and Liza Wang wearing his dresses. “It was common for local brands to sponsor outfits to TV stars,” says Wong. “And when families tuned in during dinner time that’s the fashion that they absorbed.”

There was a big initiative from the HKTDC to promote local designers alongside Ma like Ragence Lam (the very first winner of the Hong Kong Young Designer’s Contest in 1977), Benny Yeung and Eddie Lau, who would later create some of Anita Mui’s most iconic stage looks. “Back then the HKTDC put a lot of focus on helping designers,” says Ma. “Designers would get sponsored trips to go overseas to learn about fashion and the media had a focus to help give local designers coverage – a stark contrast to how it is now.”

One of Hong Kong’s first fashion lifestyle magazines, Sisters, was established in 1970. Sisters would come out with weekly coverage of popular trends while giving a shout out to local talent. Another pivotal fashion moment of the 70s was the establishment of Joyce Boutique, which started at a humble corner of Wing On Department store but soon moved and took up space at the Mandarin Oriental. “You cannot talk about the history of Hong Kong fashion without mentioning Joyce Ma,” says Wong. “[Joyce Boutique founder] Joyce Ma is the one who brought more tasteful and selective brands to Hong Kong,” agrees Liu.

“What she did influenced a generation of fashion lovers. And she’s good. Being the first isn’t enough, they also have to be good.”

Ma was responsible for bringing high-end luxury brands into Hong Kong like Giorgio Armani and Prada and then later introducing edgier, avant-garde labels like Issey Miyake, Yohji Yamamoto and John Galliano. In 1979,  Joyce opened its own standalone store and played a major role in providing exclusive items to socialites.

On the ready-to-wear side of things, women started wearing slim-waist dresses, leggings, hot pants, bell-bottoms, plaid shirts and big shawl collar jackets. The fashion icon of this era belonged to Josephine Siu Fong-fong and the character she portrayed in Lam Au-chun. Women were progressively adopting more comfortable styles of dress. Denim became extremely popular and Hong Kong companies like Bang Bang made a killing by satisfying the demand.

On the education front, Hong Kong Polytechnic University was established in 1972, expanding the opportunities for people interested in fashion to study design.

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Sunglasses Karen Walker from the9thmuse, $3,150
Sweater No 21, $6,870
Jeans J Brand from Lane Crawford, $2,400
Shoes Proenza Schouler from On Pedder, $7,590

Image inspired by Anita Mui

This was the golden era of finance in Hong Kong, but many facets of pop culture and fashion also thrived. Manufacturers were no longer just producing low to middle range products, they were also becoming producers for high-end fashion. From 1984 to 1985 Hong Kong was the world’s number one garment exporter. However, at the same time China was undergoing its reform policy, which prompted the beginning of the end for Hong Kong manufacturing.

“Our consumption as well as our production of fashion was at its peak [in the 80s],” says Wong. “I think about 40 percent of labourers were in garment making. As you know, we have the skills for it. Also, during this time, we finally started having fashion editorials and the wider public was getting in touch with fashion.” In 1984, Cosmopolitan came to Hong Kong, followed by Elle in 1987 and Harper’s Bazaar in 1988. Luxury brands were paying attention to Hong Kong’s growth and brands like Chanel and Jean Paul-Gaultier entered the market. High-end fashion destination The Landmark opened up in Central in 1983, and LVMH opened their office in 1987 – bringing with them their host of labels.On the local front, Joyce began to expand and fashion tycoons like Dickson Poon and Harvey Nichols, as well as Sir David Tang of Shanghai Tang began to make their presence known. On top of that, Vivienne Tam had just graduated from PolyU and was pursuing a dream in fashion that she would later come to fulfil. “We were actually on a fashion show together,” says Au. “Back then, there was a television station called CTV and they invited Vivienne and I to be the hosts and to talk about style and fashion. The show however, didn’t last long and the station eventually went bankrupt. But other influential shows like Enjoy Yourself Tonight started popping up and people were able to see how stars style and dress.”

“The 80s was a wonderful time for fashion,” says Ma. “People were into the disco and party scene and people were so daring yet put together with what they wanted to wear. Business was booming for me as well. I used employ a hundred people back then with a few shops around the city. Local designers were also making some headway by setting up shop at the Beverly  Centre. Back then, Carina Lau was just starting out as an actress and she would come to my shop and buy clothes.”

The daring and bold fashionistas of the 80s were typified by Leslie Cheung and Anita Mui. Cheung played up his boyish good looks, flaunting Japanese-inspired suits, baggy trousers, tank tops and jeans, while Mui stood for female empowerment with a more masculine padded- shoulder look. “Women were starting to become executives in companies, so they needed a stronger and tougher look with wide shoulders and pant suits,” says Au. Mui came out with controversial songs like Bad Girl and Wicked Woman, where she dressed in flashy Middle Eastern and androgynous outfits designed by Eddie Lau. In short, people had fun with fashion in the 80s.

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Earrings Lulu Frost from the9thmuse, $1,850
Jacket Sass & Bide, $8,299
Dress Vintage Alaïa from Once Style, price upon request
Necklace Once Style, price upon request
Bracelet Lionette from the9thmuse, $3,798
Rings Dear Bell, $298

Image inspired by Faye Wong

By the 1990s, Hong Kong had solidified itself as a modern world city with a very affluent upper class. “Socialites were the main appeal for international luxury brands,” says Wong. “Tai tais would buy a total look – head-to-toe in one brand and they would always ask if any celebrity has worn the look. Back then actors and singers were seen as lowly, so the rich wouldn’t want to crossover with any of their outfits. Brands like Chanel were very exclusive and they would never lend clothes for celebrity editorials.”

For the rest of us, American influences of loose-fitting clothing and casualwear took the main stage. Comfort was of the upmost importance and no one during this decade encapsulated that better than Faye Wong with her flowy grunge outfits, which gave off a listless and disaffected appeal.

By this time the HKTDC had been hosting two fashion weeks per year and local mainstream brands were popping up all around with chains like Bossini, Giordano and G2000. Though, by no means were these brands dictating local trends. Trends were still being established at Paris Fashion Week on the catwalk with emerging designers from Europe and Japan.

“The thing with Hong Kong is that we’ve always just had the money to consume, but we didn’t have the ability to dictate fashion,” says Wong. And as rent prices increased, local designers were forced to forego their shops and go to back to working with corporations, while major brands were the only forces that were able to afford the hikes. “I used to have a shop in Harbour City,” recalls Ma, “but even I had to eventually move out.”  

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Top Muji, $200
Dress Muji,$200 
Backpack Stylist's own 
Shoes Balenciaga from On Pedder, $7,700