"I established the brand in 2016, beginning with selling vintage cheongsams before evolving into custom-made and ready-to-wear collections. We've collaborated with European brands like Memphis and photographers, but this time we’re partnering with artist Sindy Chiu. Her work ‘That Cloud’ inspired three floral-themed series collectively titled ‘Blossoms Above Clouds’. We’ll host a dedicated exhibition this Saturday, reinterpreting traditional wear through contemporary designs to make Chinese aesthetics accessible to younger generations."
"In terms of materials, we’ve moved beyond conventional silks and cottons to incorporate denim, upholstery fabrics and other innovative textiles. Our core values include offering extended sizes (up to UK size 20) and promoting family unity through matching outfits for parents and even pets. We aim to sustain Chinese cultural heritage while revitalising it for modern contexts."
Regarding their return to CENTRESTAGE after three years (first participation was during the pandemic), Cammie noted: "We chose to return because this platform effectively showcases innovative interpretations of traditional Chinese wear to international buyers. We’re particularly interested in reaching markets in Canada, the US and Europe to demonstrate the contemporary potential of Chinese design."
Artist Sindy Chiu added: "This collaboration feels like heaven and earth merging – my cloud motifs harmonise with Cammie’s floral series. We’re both specialists who’ve turned our passions into professions. What moves me most is seeing my typically static indoor artworks transformed into wearable art that moves through urban spaces – these garments become walking landscapes."
The brand Ika Butoni presents the “Cross Culture” collection at this year's fair, fusing Japanese Shibori hand-tie-dye techniques with eco-printing using natural leaves and dyes. Both methods are globally recognised for their artistry and sustainability, aligning perfectly with today’s demand for handmade, meaningful fashion. This collection celebrates cultural dialogue through craftsmanship.
As a longtime supporter of Hong Kong Trade Development Council events since 1985, Ika has witnessed the evolution of Fashion Week and now CENTRESTAGE. “While I’ve also shown in Paris and Milan, Hong Kong remains a strategic hub for Asian creativity. This 10th-anniversary edition feels particularly significant—it’s a chance for the event to reclaim its role as Asia’s leading fashion platform.”
Buyer responses have been intriguing. Mainland Chinese visitors are especially quick to engage—they photograph details extensively, likely assessing how to adapt these art-driven pieces for their market. While some international buyers may need time to digest non-standard designs, the curiosity is palpable. To future-proof CENTRESTAGE, Ika recommends actively inviting buyers from emerging hubs like Saudi Arabia and the UAE, especially given current European uncertainties. Hong Kong has the potential to become the definitive bridge between Eastern and Western fashion narratives.
The showroom has brought a curated selection of five to six brands this time, including the Danish label Henrik Vibskov, known for its runway appearances in Copenhagen and Paris, and the German functional rainwear brand H2O, which is being introduced to Asia for the first time. Also featured are sculptural, architectural bags from Amsterdam-based Meryl Tillman—produced in the same factory as Prada—as well as Danish recycled jewelry from Prawn and minimalist ready-to-wear from a German designer reminiscent of Jil Sander and Uma Wang. Additionally, Kala, a Canadian-Parisian brand crafted artisanally in Morocco, adds a cross-cultural touch to the collection.
When asked about business expectations, Jensen emphasised that the primary goal isn’t immediate order volume. “It’s our first time here, so our expectations aren’t measured in dollars. We’re really here to gather feedback, meet buyers, and better understand the market.” He also acknowledged the effective support from Centrestage’s team in arranging business matching meetings.
Vald Showroom’s target markets in Asia include Hong Kong, Mainland China, Japan, and Korea, with a focus on introducing European design excellence and artisanal craftsmanship to new audiences.
Alongside its main line, the brand will debut its new technical athletic sub-label, Mayan, exclusively at the CENTRESTAGE runway show. "We've grown alongside CENTRESTAGE these past ten years," notes Yam. "This platform gathers Hong Kong's most vital fashion community—where established names and emerging voices converge."
When discussing market vision, he affirms: "Hong Kong remains our roots. We aim to showcase hybrid cultural narratives through design, allowing traditional Chinese elements to resonate on the global stage with renewed relevance."
The Japanese brand The Nerdy built on an otaku-inspired concept, creating clothing for communities he personally admires. At CENTRESTAGE, the owner Seiji is showcasing three distinct lines: the core Nudies collection featuring jackets and pants, the Sounds Ocean line with music and film-inspired graphic tees, and a new brand called Bap offering combined bag and cap sets. His decision to exhibit was driven by CENTRESTAGE's new matching system, which he learned about while previously participating in shows in Paris.
When discussing results, Seiji reported approximately 20 business meetings over two days, with notable interest from buyers representing Korea, Taiwan, Italy, and Germany. He clarified his order target is 5 million Japanese Yen and emphasised his focus on establishing new distributor partnerships through the event. While acknowledging it was his first time attending, he expressed positive impressions of the matching opportunities and overall experience at CENTRESTAGE.
"We are first-time participants at CENTRESTAGE, and frankly, we come from an unconventional background. I'm an architect by training, and our brand began almost accidentally through a cultural creative space focused on mahjong. While I'm not particularly skilled at playing mahjong itself, I founded a mahjong-themed lifestyle store selling special edition sets (like cat-themed, dog-themed, and Hong Kong-style mahjong) and derivative products. Initially, we offered socks and tote bags, but we soon realised: how often does someone buy a new mahjong set? This sparked our core concept – using mahjong to connect and inspire."
"This year, UNIQLO invited us to collaborate on a Hong Kong-themed mahjong set, which sold out remarkably well. That success made us reconsider our potential: if we can create products that resonate so strongly, why not explore fashion? Our brand name '一筒' (One Dot) is itself a mahjong tile, and our English name Glocal Mahjong reflects our vision of merging global ideas with local culture. Our logo even features a globe."
"CENTRESTAGE provided us with a critical opportunity as fashion newcomers. The platform handled everything we lacked experience in – from runway production to model casting – allowing us to focus solely on design. Through this process, we learned fundamental skills like garment sampling and coloring. Most importantly, having a clear deadline forced us to finally execute ideas we’d discussed for years."
"Our new collection, Mahjong Variable, reimagines mahjong as functional wear. For example:A tile-inspired pouch unfolds into a garment; Suit patterns become zippers; A towel dress spreads flat like a mat but wears as elegant evening attire; Practical designs include pants with hidden phone pockets and unisex athletic wear;
We’re showing on Friday’s runway – though we lack experience, we believe our strength lies in creating clothing for real-life scenarios. Our show will feature four scenes: airport travel, office work, running, and formal events. This mirrors how people actually live today."
Regarding market goals: "We’re not chasing mass orders. As an architect, I think in systems – we’re building a brand, not just selling products. Mahjong is a perfect unisex language: neither overly feminine nor masculine. We’ve received invitations from Mainland China, but our priority is consolidating our identity as a Hong Kong brand first. Becoming a local icon is our current goal – recognition at this stage matters more than immediate sales."
LIDO LUNA offers minimalist, Mediterranean-inspired womenswear. Focusing on luxurious fabrics and timeless silhouettes, the brand embodies a philosophy of effortless elegance and quiet luxury. Fleur, the owner, thinks that CENTRESTAGE has been a game-changer for our resort wear brand. As our first international showcase beyond Singapore, it opened doors to key Asian markets, especially Mainland China and Hong Kong. The organization made everything seamless for overseas exhibitors.
She said, customer feedback has been incredibly positive. People are drawn to our playful, embellished designs, which stand out amid the sea of sportswear here. I’ve connected with buyers from across Asia, gaining insights to refine my collections.
“I see Asian fashion as a blend of precision tailoring and bold expression.” She emphasised. Events like this highlight that fusion while bringing East and West closer. HKTDC’s role in uniting global buyers and brands in one place is truly unmatched.
"This year marks my first participation in CENTRESTAGE under my own brand name, a decision deeply influenced by the organiser's exceptional professionalism. From the early preparation stages, your team proactively reached out and patiently addressed all my inquiries – this genuine respect for designers left a lasting impression. Upon actually exhibiting, I discovered that every detail, from world-class venue design to meticulous logistics, reflects TDC's international vision. The team even anticipated needs we hadn't considered ourselves. This 'thinking beyond the designer' support is exactly what independent brands need most."
The brand specialises in handmade custom hats and headpieces, with each piece crafted personally by the designer. "Headwear is an extension of personal style, which is why we adhere to a 'never duplicate' principle. Even if clients admire existing designs, we suggest modifying details or color schemes to ensure every customer's piece remains unique. This haute couture approach stems from structural techniques I learned studying under Rose Cory in the UK – mastering how to make architectural forms both sturdy and lightweight is the core craftsmanship that distinguishes millinery from ready-to-wear."
When discussing why she chose hats over clothing, she smiled: "I hesitated after graduating from fashion design, until a mentor advised: 'Instead of achieving half the result with double the effort in clothing, dedicate yourself to headwear where you can double the impact with half the effort.' A single garment requires considering countless details from fabric to internal structure, while millinery allows me to focus on pure creative expression."
Regarding market strategy, she admitted: "Hong Kong's custom hat market may be small, but we're expanding our audience through daily-wear collections. Our goal here isn't immediate orders, but treating CENTRESTAGE as a long-term investment. TDC's international resources and government support can bring opportunities like overseas exhibitions – this is the irreplaceable value for independent designers."
LINDA PRO is a luxury glass accessories brand founded in 2023 by Czech designer Linda Procházka, specialising in handcrafted glass handbags that merge traditional craftsmanship with contemporary fashion. "Czech glass has a profound heritage—it was added to UNESCO’s intangible cultural heritage list in 2023," Procházka explains. "I wanted to transform glass from decorative objects into wearable art."
All pieces are handmade in the Crystal Valley region of Northern Czechia, known for centuries of glassblowing expertise, and are available year-round at the brand’s showroom in Prague’s Almanac X Outron hotel.
When asked why she chose CENTRESTAGE for her Asian debut, Procházka notes: "I’ve visited Hong Kong multiple times and believe it offers unparalleled opportunities for international growth. With support from the Czech Consulate here, I see CENTRESTAGE as a gateway to all of Asia—not just Hong Kong."
As a first-time participant in a major fashion fair, she aims to explore new markets and build connections beyond the art and design circuits where her work has previously been featured. "This is about sharing
Founded by Camille Xiong on Valentine’s Day this year, Yishang Isabel C draws its name from the founder’s daughter and embodies a vision where art meets heritage. The brand specializes in transforming traditional Chinese textiles and techniques—such as Xiangyunsha (Gambiered Canton silk), Song brocade, Yun brocade, Shu brocade, Zhuang brocade, Tang brocade, Kesi, and Su embroidery—into modern, wearable art. Many pieces incorporate antique materials dating back to the Qing Dynasty. The mission is clear: to celebrate and share the rich cultural heritage of China’s 56 ethnic groups with the world.
CENTRESTAGE provided a powerful platform for this mission. The founder reported meaningful connections with more than 100 potential partners and buyers from a diverse range of countries, including: France, Singapore, Malaysia, Japan, India, Middle East, Mainland China and UK.
A particularly significant achievement was the brand’s runway debut at the event, which reached an audience of over six million and garnered strong, positive reactions.
The impact has been immediate and tangible. The brand is already in promising initial talks with several prestigious international organizations, including the Miss Hong Kong pageant and ESG-conscious partners from India, who were specifically interested in the sustainable nature of Xiangyunsha silk dyeing processes. Furthermore, cultural institutions like Hong Kong’s Fringe Club have expressed strong interest in the brand’s collection of antique Qing Dynasty embroideries.
The founder expressed deep gratitude for the support from the Hong Kong Trade Development Council (HKTDC), noting that it was instrumental in facilitating these global connections. From high-level visits by government officials to strategic media and KOL promotions, the HKTDC’s role was pivotal in elevating a local brand onto the world stage.
Tommaso Maffeis has been with SUGAR for 17 years and currently serves as Buying Manager. He explained that the Italian brand retailer, founded in 1978, specialises in luxury fashion. Not only does it maintain long-term partnerships with top-tier brands such as Prada and Gucci, but it also actively scouts promising contemporary designer labels. The company’s operations span men’s and women’s clothing and accessories, with a consistent focus on the luxury market.
When discussing his first experience visiting CENTRESTAGE, Tommaso was unreserved in his praise for the organisation of the event. He found the exhibition layout intuitive and conducive to meaningful engagement with brands. Although some designs were too avant-garde for his clientele, he identified several noteworthy brands: Australian swimwear label Bondi stood out for its classic designs, Czech brand LINDA PRO impressed with its exceptionally crafted glass handbags (though pricing strategies required further evaluation), and Japanese brand Nerdis showcased distinctive innovative printed T-shirts.
Tommaso emphasised that while CENTRESTAGE is not exclusively luxury-focused, this diversity is precisely where its value lies. While SUGAR continues to trade in high-end products, it also consistently incorporates sportswear and accessible fashion items to offer consumers broader choices. As a buyer attending an Asian fashion fair for the first time, he adhered to his customary prudent approach—having requested line sheets from preferred brands, he will collaborate with his Italian team to assess order quantities and does not intend to place immediate orders on-site.
"We operate a high-end concept store in Bali that stands out for its minimalist, brutalist aesthetic. We specialise in curating luxury and artisanal brands from around the world, with a strong focus on quality and craftsmanship. Our selection is primarily contemporary luxury, featuring labels like J.W. Anderson, Kenzo, and Rick Owens, though we prioritise brands with distinct artistic vision and material innovation."
"This is my first time sourcing in Hong Kong, as we typically work with European brands based in Paris or Milan. I’ve attended fashion fairs in Japan multiple times, but CENTRESTAGE offered a fresh perspective. While exploring, I discovered compelling Hong Kong-based brands like Blind by JW, which crafts woven vegan leather bags, and another standout using silk with natural dyes – exactly the kind of craftsmanship we seek."
Regarding budget, Abdelwahid noted: "We don’t set rigid limits—investment depends entirely on the product’s merit. Typically, we allocate $100K–200K per season across menswear and womenswear. Since we’re here during the early stages of womenswear buying (before Paris shows later this month), we’re open to exceptional discoveries."
"I represent Galeries Lafayette's China operations. We are a joint venture department store with our headquarters based in Paris – the Paris flagship store being our original establishment. We currently operate three stores in China: two in Beijing and one in Shenzhen, which just opened in 2023."
"This is my first time visiting CENTRESTAGE in Hong Kong. After exploring the show this morning, I was impressed by the considerable number of brands and the diversity of offerings. I particularly appreciated the mix of brands from across Asia – including emerging designers from Thailand, local Hong Kong labels, and Japanese brands. The variety is truly remarkable."
Regarding her sourcing strategy, she explained: "I had already shortlisted brands through the brand directory prior to arriving. Today I focused on meeting with these targeted brands, exchanging contacts for further discussion. As a department store buyer, we don't limit ourselves to specific regions or styles – we prioritise diversity to offer customers comprehensive choices."
On the question of budget, she maintained a practical approach: "I haven't set a specific procurement amount yet. I need to review detailed information from brands – including pricing structures and delivery timelines – before making any commitments."
"I operate a fashion platform Oficina Gabardinthat, which combines retail with consulting. Part of my week is dedicated to advising startups and small brands on growth strategies and market expansion. To reinforce this vision, I also run a small online store featuring emerging designers' products. Many designers struggle at the beginning – my role is to provide guidance and proactive decision-making support. Essentially, it’s a hybrid model of consulting and e-commerce."
"This is my second time at CENTRESTAGE. Returning gives me more confidence – I recognise faces, understand the city better, and appreciate the event’s mission to promote not just Hong Kong designers but regional talent. Last year, I identified promising brands with strong design skills but saw they needed time to mature as businesses. Now, seeing their progress after a year is incredibly valuable. It’s about building relationships and witnessing growth – that’s how lasting business partnerships form."
"Last year, a potential collaboration didn’t materialise because the brand wasn’t fully prepared for European market requirements – things like line sheets, commercial assets, and responsive communication are essential. European buyers often decide quickly; delays can weaken momentum. This year, I’ve already connected with a brand I admire – MARCCH who presented a refined but consistent collection today. Their strong brand DNA and evolution show they’re now ready. I’ve emphasised the need for efficient follow-up: prices and line sheets must be shared next week to secure orders."
"While I noticed new talents, I’m focusing on brands that have reached the right maturity level. For instance, MARCCH’s commitment to their signature style, refining rather than reinventing each season, is exactly what stores and customers look for. The fair itself is well-organised, with clear zoning and information. As a visitor, preparing in advance and targeting specific sections maximised efficiency. The organisation’s support in pre-fair communication was particularly helpful."
Regarding budget: "I’ve allocated 2000-5000 euro for orders, notably for MARCCH, but precise figures depend on receiving their price list next week. Buyers reserve budgets for promising brands, but timely information is critical. If delayed, those funds may be redirected elsewhere."
"I am Katrina, the founder and owner of Studio 183 – a platform dedicated to supporting independent designers and artists. We operate both as a retail space and a promotional platform, with a physical store located in Bikini Berlin, a concept shopping mall. I’ve been running this space for nearly a decade since its opening in 2015."
"This is my first time visiting CENTRESTAGE, and I’m truly impressed. The selection of brands is beautiful, filled with creativity and innovation. The design level is exceptionally high, making it an outstanding platform for discovery."
When asked about her sourcing focus, she emphasised: "Independent brands working with upcycling techniques particularly excite me. I’ve encountered several designers creating unique one-off pieces or very limited productions – this aligns perfectly with our ethos. While womenswear is our primary focus, accessories also caught my attention."
Her team visited 9-10 brands, primarily from Redress-aligned circular fashion initiatives. Studio 183 operates on a shop-and-shop model (rather than traditional wholesale), where designers pay a participation fee and share sales commissions. "We rarely purchase inventory directly – our role is to provide visibility and sales support."
Multiple brands have already requested further information about collaboration terms, indicating strong interest in potential partnerships.
"I am Tifandy, representing Indonesia's PT. Panen Lestari Group. We manage over 175 brands, with my primary focus being department store operations – including Japan's Sogo Sebu and France's Galeries Lafayette. We operate as a licensed franchise partner, overseeing Sogo Sebu and Galeries Lafayette, and my role involves ensuring the smooth operation of these businesses."
"This is my second time attending CENTRESTAGE. I visited last year as well, and this time my aim is to discover new brands while broadening my understanding of the Asia-Pacific market. I've been particularly interested in exhibitors from regions like Thailand, observing both regional fashion trends and international developments – such as brands from the UK and Australia. Overall, I'm here to gain industry insights while identifying suitable new brands for our market."
When discussing procurement challenges, he noted: "While I've encountered many interesting brands, numerous ones would struggle to enter the Indonesian market due to our strict regulations. Requirements include laboratory test reports and HAL certification (halal certification for Muslim countries), which many exhibitors find unfamiliar. Additionally, the government mandates detailed care labelling and production processes that comply with local regulations. Consequently, only established brands or large manufacturers typically meet these requirements."
Despite these obstacles, he praised the event highly: "The organisation is exceptionally structured, covering everything from seminars and brand matching to fashion shows – essentially encompassing all aspects of the fashion industry. With many exhibitors being both brands and manufacturers, it serves as a truly comprehensive one-stop platform that is both engaging and efficient."
"This is my first time attending CENTRESTAGE, though I regularly visit major global fashion fairs including men'swear exhibitions in Paris and New York such as Capsule, Liberty Fest, and Project Tranoi."
"On my second day at the exhibition, I identified a promising Korean sandal brand with potential. Although they lack international sales experience, I proactively offered pricing strategy advice and industry insights. They're now preparing materials for follow-up discussions. We maintain long-standing, family-style collaborations with Danish agency Vald (working with Hendrik Vibskov for three years) and Japanese brand Nerdys (partnered for over five years). This trip has a budget of approximately $10,000 to trial new brands for our stores."
"The business matching experience at the fair was comfortable and pressure-free, allowing open communication. My only suggestion is that the minimum requirement of 10 brand matches for buyers felt slightly high, as some brands' avant-garde styles didn't align with our needs – we ultimately engaged with 8. However, the ecosystem blending established and emerging brands holds real value, enabling knowledge-sharing between industry veterans and new creatives."
At this year’s edition, she identified three noteworthy brands: a Thai bag designer—currently in discussions about minimum order quantities and tax implications—an Australian label, and a highly artistic though premium glass handbag brand (priced around €2,000 retail, for which she suggested exploring commercial material alternatives). She also expressed admiration for the designs at the Hong Kong Denim Festival booth, particularly the denim jackets and bags that stood out for their creativity.
Having attended CENTRESTAGE four or five times since its inaugural edition in 2016, Francesca highlights its unique appeal: “Compared to other fairs like Coterie or Première Classe in Paris, where I often come across the same brands, CENTRESTAGE offers a truly distinct lineup—it’s a place where you discover new and unexpected voices.”
Regarding procurement plans, she adds: “Given the current challenges in the fashion industry, we are carefully evaluating all costs. I will share information about these brands with our team in Italy, and together we will assess taxes, shipping, and profit margins before making any decisions.”
As for CENTRESTAGE, he appreciates the broad range of offerings, noting that the variety makes the fair relevant for different types of businesses.
Vincent’s primary goal in attending is to connect with emerging designers who may not yet have a presence at major fashion weeks. He is particularly focused on discussing practical challenges—such as navigating the current economic climate and entering the U.S. market. Many young brands, he explains, possess strong creative vision but lack business acumen or understanding of international logistics. He aims to offer guidance on import processes, market positioning, and building a commercially viable brand.
He expressed interest in more structured guidance for first-time visitors—especially given jet lag and the overwhelming amount of information. The personal assistance he received was greatly appreciated.
He also emphasised that, while sustainability and other values are welcomed, his main criteria remain sellability and alignment with his customers’ tastes. Practical business conversations, rather than conceptual discussions, drive his sourcing strategy.
Georgia, buyer for New Zealand-based boutique The Shelter, found her first visit to CENTRESTAGE remarkably fruitful. The retailer, which carries core brands including Rick Owens, Henrik Vibskov and Alexander Wang, remains dedicated to discovering emerging design talent worldwide. Its in-house emerging designer programme has become a vital bridge connecting local and international creativity.
"We don’t limit ourselves to a specific style, but we definitely lean towards darker tones and architectural silhouettes," Georgia explained. She emphasised that fabric quality and detailed craftsmanship are key selection criteria, while noting the importance of maintaining each brand’s unique identity to ultimately create a harmonious aesthetic narrative within the store.
Her first experience at CENTRESTAGE left her impressed: "The exhibition brings together an exceptionally rich mix of international brands, particularly highlighting the rise of design talent from China, Hong Kong and Korea." She has drawn up an initial shortlist of brands of interest, specifically mentioning that several designers from the British and Thai pavilions have already reached the quotation stage. Her procurement budget will range between $10,000 to $30,000 depending on collection scale.
Beyond business connections, Georgia also praised the supporting events, noting that sessions with Jimmy Choo, Guo Pei and the CEO of the Australian Fashion Council were particularly inspiring. She specifically commended the professional production and precise organisation of the fashion shows, stating that the overall experience exceeded expectations.
"This is my first time at CENTRESTAGE, and I'm impressed by how well-organised it is. The programs are very useful for buyers – being able to experience fashion shows, exhibitions, and networking events all in one venue is much more convenient than other fairs. The international mix of brands is especially valuable for overseas buyers like myself."
"Our target customers are the MG Generation [Millennials & Gen Z] – they're fashion-forward and drawn to striking designs, even within basic items. I'm looking for brands with a strong unique identity that resonate with young consumers. Since I handle both apparel and accessories, I've already spotted some compelling brands in both categories."
Regarding budget: "I'll need to confirm with my team, but we're considering around $3,000 USD per brand. So far, I have about 5 brands in mind for potential orders."
As the chairman of theInternational Fashion Art Culture Association (Taiwan) which is dedicated to promoting Taiwan's fashion and art on the global stage, Stephanie Wen emphasises cultural exchange and creative development. Attending CENTRESTAGE for the first time, she observed that the event successfully gathered brands from 25 countries, highlighting Hong Kong’s role as an international hub where designers from around the world converge. She noted that this gathering vividly demonstrated the borderless appeal of fashion, fostering cross-cultural dialogue and industry collaboration.
The range of products was remarkably diverse: from trendy brands favoured by young people to local Hong Kong designs embodying Eastern aesthetics, encompassing everything from bags and jewellery to various types of apparel. The fashion show segment was particularly impressive, designers struck an ideal balance between creativity and wearability, transforming imaginative into wearable art.
The forum sessions were another highlight. Mr. Jimmy Choo’s sharing session was fully attended. Having interviewed him over eight years ago, it was moving to witness a master inspiring a new generation of designers. This international platform not only facilitates business matchmaking but also boosts Hong Kong’s tourism economy, allowing global visitors to experience the city’s dynamism.
When it comes to the characteristics of Asian fashion, I believe the key lies in precise tailoring. Asian body types differ from Western ones, requiring cuts that are more fitted and considerate of local proportions. At the same time, the integration of sustainable fashion and technological fabrics has become a major trend. The challenge lies in making eco-friendly designs both reasonably priced and comfortable to wear. Asian consumers’ aesthetics are polarised: they appreciate the simplicity of earth tones, black, white, and grey, but are also eager to experiment with vibrant colours.
The Hong Kong Trade Development Council has achieved significant results in promoting the fashion industry over the past decade. Going forward, I would recommend fostering deeper interaction between buyers and designers to better align purchasing with market needs.
This year’s discoveries included many pleasant surprises: for instance, jewellery brands using real diamonds with truly international vision—while not inexpensive, they offered great value; a Hong Kong designer’s creative blazer combining traditional tailoring with transparent black lace, which adapts well to the climate while highlighting design sensibility; and versatile pieces such as dresses that can be worn as trench coats, showcasing Asian design ingenuity.
I would like to thank the organising team for their comprehensive tour of the exhibition. The themed zones focusing on sustainability and cultural diversity resonate with the core values of contemporary fashion—a curatorial approach that prioritises both environmental consciousness and cultural inclusivity is essential for the industry’s future development.
Stavros Karelis, founder and buying director of Machine-A, a London-based concept store. Machine-A is a multi-brand retailer known for consistently supporting and showcasing some of the world's best emerging talent alongside established labels. This is my first time at CENTRESTAGE, and I find the event remarkably rich in its offering—there's a great deal to discover.
I was particularly impressed by the emphasis on local Hong Kong designers and brands. Highlights included Retro's Wen Pan, Geno Studio by Lam Kinyan, and Tiger Chang, who showed at the Hong Kong-Korea exchange booth. I also enjoyed revisiting UK-based talents such as Seoul Nash and Dan Xu in the British pavilion—it was a refreshing opportunity to see their work in a new context.
Regarding purchasing plans, as we're at the start of the womenswear buying season, we are evaluating which brands might fit into our range. We have absolutely set aside a budget for selections made here, though the exact figure remains flexible based on production capabilities and delivery timelines. All in all, CENTRESTAGE is very well organised and has proven to be an exciting platform for new talent.
Marianna works for Tomorrow Ltd, a brand accelerator representing a portfolio of established and emerging brands from around the world. While I’m based in Italy, our company has a truly international outlook, with offices in London, Milan, and Shanghai.
This was my first time attending CENTRESTAGE, and I was highly impressed—the event was very well-organised, particularly the app which made connecting with designers seamless. What stood out to me most, however, was the calibre of local talent. I was especially interested in Hong Kong-based designers—like Sparkle by Karen Chan, which offers a compelling modern interpretation of Chinese style. I also had inspiring conversations with designers in the UK pavilion and was pleasantly surprised by the strong offering from Korean talents.
I plan to revisit several Hong Kong designers to assess pricing and distribution fit. While our wholesale price range is typically between €100 to just under €1,000, discovering brands that align with our clients' expectations remains a priority. CENTRESTAGE has been a valuable platform for exactly this kind of exploration.
I am Masaki from Hankyu Hanshin Department Store in Osaka, Japan, responsible for the buying and operations of the women's fashion section. Our target customers are young women in their early twenties, and we focus on introducing modern fashion brands that align with their preferences.
This is my first time attending CENTRESTAGE, and I find it quite refreshing. In Japan, it is rare to see such a diverse range of international brands gathered on one platform. The avant-garde designs of many Hong Kong brands and their emphasis on sustainability have left a deep impression on me. The format of this exhibition, which brings together brands from various countries, is highly beneficial for expanding business perspectives.
I am particularly interested in the Hong Kong brand Kanalili and have collected relevant materials to bring back to Japan. As Japanese department stores typically test market response through pop-up collaborations first, we will discuss potential cooperation with our team. Pricing and business terms will be key factors in our decision-making process.
Alfredo, a fashion professional from Milan, expressed strong enthusiasm for CENTRESTAGE, highlighting its outstanding organization and innovative atmosphere. He praised the event’s well-curated international pavilions and seamless layout, which allowed him to efficiently explore a diverse mix of brands. Having attended fashion events worldwide, he noted that CENTRESTAGE stands out for its focus and accessibility, offering a concentrated yet comprehensive experience that connects global designers and buyers in one dynamic space.
He emphasised the crucial role HKTDC plays in supporting Asian designers by providing a physical platform for global engagement—especially valuable in an increasingly digital industry. Alfredo pointed out that the event serves as a cultural and business bridge between Eastern and Western markets, helping designers gain exposure to international buyers, press, and agencies. Despite challenges like tariffs and geopolitical barriers, he believes CENTRESTAGE empowers brands to strengthen their global presence through enhanced visibility and meaningful networking.
Looking to the future, Alfredo highlighted technology integration and category expansion—such as fashion brands moving into hospitality, fragrances, and lifestyle products—as major industry trends. He specifically admired Hong Kong denim designers for their creative reinterpretation of traditional fabrics. While his buying approach remains project-based without a fixed budget, he left impressed by the quality and originality he encountered.