//16.4 Perspectives
Mary Yu believes that Hong Kong has a pool of creative talents but not the environment to see them soar.
What does it take to thrive as a fashion designer in one of the world’s most dynamic cities? For Mary Yu, a Hong Kong Polytechnic University (PolyU) graduate and founder of the eponymous high-end design brand Mary Yu (嫿), it’s all about blending cultures and overcoming challenges.
Always interested in painting and design, Mary studied fashion design at PolyU, where she also participated in projects with various clients. Upon graduation, she started her own business and began to explore possibilities in a wide range of fashion products.
Nine years ago, charity event organisers approached her to design qipaos or cheongsams, the traditional one-piece Chinese dress for hip young artists and middle-aged mothers. “I thought this would give me something new to focus on,” Mary tells Youth Hong Kong. Through such events, she connected with the manager of Yue Hwa Chinese Products Emporium who appreciated her modern designs and offered her the opportunity to sell her products in the shop. Given her background and lifelong interest in Chinese culture and literature, this was the birth of the eponymous brand, Mary Yu.
However, it was not easy for Mary. Building a brand was hard enough, but then there was the constant effort needed to manage every aspect, from design to sourcing, and from manufacturing to marketing. “Most of my classmates were designing western clothes. Traditional Chinese dress was very niche and not mainstream,” she says. To add to these challenges, the pandemic struck, which affected sales revenue and cross-border business operations.
Fashion designers in Hong Kong have always faced a challenging environment. It is a challenging industry to work in and despite the diverse pool of creative designers, many young graduates find it hard to set out on their own. Paying exorbitant rents and finding suitable retailers make it especially hard, so many aspiring young designers choose to work for large companies. Even those opportunities are limited in Hong Kong.
“I have seen many talented young professionals change careers within three to five years of graduation. That’s so unfortunate,” Mary continues. “Experienced designers face other difficulties. Unlike in medicine or law, where experience correlates with income, older designers are often seen as lacking in creativity and energy compared to members of the younger generation.”
In addition to employment, Mary says issues in Hong Kong’s fashion industry have remained unresolved for the past 20 years. Hong Kong has had a rich history as a textile manufacturing base. Particularly during the post-World War II era and through till the late 20th century, the industry played a crucial role in the shaping of the city’s economy and social fabric. However, despite this long history, the design and creative side of clothing, not seen as part of the manufacturing sector or the arts industry, is sometimes overlooked.
Mary thinks that there are some practical ways in which the problems can be addressed. The city could provide vacant spaces as consignment venues, for example, offering sales channels on a revenue-sharing basis and allowing for centralised marketing. This would allow designers to focus on their products. As for her more experienced peers, Mary suggests government support could elevate their careers and provide opportunities abroad so that they can update themselves in this ever-changing industry.
Recent government measures rolled out to support the fashion design industry and enhance the visibility of local talents on international platforms include organising Hong Kong Fashion Design Week annually from 2024. This was after the 2023 policy address, but since 2017, the Cultural and Creative Industries Development Agency (CCIDA), previously Create Hong Kong under the Culture, Sports and Tourism Bureau, has been providing funding for projects in the fashion design industry through the Fashion Incubation Programme.
As such initiatives take shape, a critical question arises: how can Hong Kong unlock its potential as a future fashion centre? Mary believes that sustained support is crucial. “Unlike athletes, some designers can work until they are 80, making their potential contribution to society limitless. We cannot just rely on the few who gain international recognition. If it is serious about nurturing talent, Hong Kong needs to think about sustained, long-term support and not only sporadic awards.”