Join two iconic fashion figures for a compelling discussion on the importance of passion and education in fashion.
SHOT ON LOCATION AT KHOON HOOI’S STUDIO. PHOTOGRAPHY BY AIMAN YAZID. TEXT BY AININA HASNUL.
Khoon Hooi truly brought his vibrant vision to life in his showroom. I browse through his collection as the colors and designs on display reflect the genius of this legendary designer. His creations have graced red carpets around the globe, worn by Hollywood celebrities. Known for his unique ability to bridge traditional and modern elements, Khoon Hooi infuses a touch of Malaysian heritage into his pieces.
His deep appreciation for fashion stems from his roots, with his grandmother being the initial source of inspiration. Growing up in a small village, fashion was an unfamiliar concept. “For them, being a fashion designer was just like being a tailor. They didn’t understand what it really meant,” he recalls. Despite his parents’ reservations, Khoon Hooi followed his passion.
It wasn’t until the end of the semester that they discovered his decision, leading to a significant argument with his father. However, their attitude gradually changed, especially when Khoon Hooi began receiving awards and recognition for his work. By the time he graduated, his parents had become supportive and proud of his achievements.
Reflecting on his journey, Khoon Hooi acknowledges how fortunate he feels to pursue his passion as a career. “Sometimes we’re so lucky to do what we love. Our passion becomes our life—we sleep, drink, and eat with it. It’s in our blood, and it keeps us going, no matter the challenges.” Today, Khoon Hooi’s brand revolves around occasion wear that bridges cultures, drawing inspiration from his Chinese roots and the vibrant world that surrounds him.
Similarly, Brian Khoo’s passion for fashion was nurtured by his mother. Growing up, he spent much of his time with her, watching as she made clothes for both herself and him. He accompanied her on fabric-sourcing trips, developing a natural touch for textiles.
Brian decided on his future and was determined. After persuading both his parents—despite his father’s traditional Chinese upbringing and initial objections—they eventually gave their blessing. Brian considers himself very fortunate for their support.
He launched his brand in late 2016, empowering women through his designs. His use of luxurious fabrics, perfectly defined shoulders, and sharp tailoring accentuates the female figure, creating sophisticated yet unapologetically bold dresses. You may know him for his iconic design worn by a Miss Universe contestant—his creations are anything but shy.
Pairing these two designers together felt like a dream come true and we are excited to bring you along for the journey. Get ready for a captivating exchange of industry insights and wisdom, as they delve into the significance of passion and education in the world of fashion.
In Conversation with Khoon Hooi and Brian Khoo.
Khoon Hooi (KH): Brian, as a young designer, what are the key sources of inspiration for your collections, and how do you envision your brand evolving over the next five years?
Brian Khoo (BK): I take every day in life as an inspiration. You never know what’s going to happen. Sometimes, a sudden cause will be like an inspiration to me. Stories from different moments, exhibitions that I visited, the music I listen to, those are my first sources of inspiration.
As of my plan in the next five years, I would like to expand my brand overseas and focus more on the international markets because I’ve been so focused on Malaysia within the eight years since I started. We are making sure that the production is stable enough before we proceed.
KH: Actually there are two ways you can go by it. Either wholesale or Business-to-Consumer (B2C).
BK: But isn’t B2C more challenging?
KH: It’s challenging but the value can cover your troubles. I’ve been in the wholesale business for the past 16 years. Today, we have more and more designers coming up. Hence the price comparison and competition. It’s very challenging for the wholesale market. If you want to try, you should still do it. But an alternative would be to look into B2C.
BK: How do you engage customers?
KH: Normally, you need a local partnership or an agency. They will invite a socialite or someone similar, who will come to meet with you and that’s when you invest in these relationships. Wholesale can be very tiring.
When one thing is off, the entire product line or collection can be rejected and sent back. It happens, and it’s exhausting. However, if you’ve never tried it, you can give it a shot. I believe it’s a good way to expand, especially now that your brand is mature enough.
BK: You emphasise the importance of understanding the business side of fashion. How do you balance creativity with business management?
KH: For me, fashion is always a business. A design can be incredibly beautiful, but if it doesn’t sell, then it’s not perfect. As a fashion designer, it’s crucial to understand trends, market needs, and consumer demands. On top of that, we infuse our brand DNA and creativity, striving to be as original as possible. Buyers are constantly looking for something fresh and unseen, yet marketable. That’s a tough balance to strike.
We started with 30 or 40 SKUs, and now we’ve grown to 50 or 60. We cater to international buyers, each with different needs. For example, in America, there’s a demand for sexy designs, while in the Middle East, everything needs to be covered and embellished. In Japan, they prefer simplicity with a focus on silhouette.
The key is maintaining originality and a strong brand identity. When someone sees our designs, they should immediately recognize them and feel that they can’t find anything similar elsewhere. That’s what sets us apart. And of course, staying ahead of trends is crucial. We plan a year in advance—from inspiration and fabric sourcing to production—so we must anticipate what’s next.
KH: What have been some of the most significant challenges you’ve faced in establishing your brand, and can you share a moment of triumph that made those challenges worthwhile?
BK: Time management is always a major challenge in fashion. For example, when clients suddenly request something within a short timeframe, we have to make it happen. To do that, I need to communicate with my team constantly and precisely, ensuring everyone is on the same page.
In addition to running my brand, I also teach two days a week, ten hours of classes each day. To keep my brand and company running smoothly, I’ve had to put a lot of trust in my team. I recently realised I’ve been teaching for five years now.
BK: How do you maintain strong relationships with your clients and ensure their loyalty?
KH: It’s all about understanding what they need. Clients usually come to us with specific requirements because they need something special for an occasion. We try to incorporate our brand DNA while meeting their needs. When they come to us, it’s because they trust us, and our job is to make them feel confident. Over time, you build a friendship with your clients, and that trust deepens.
I have a client who has been with me since the day I started—25 years ago. I remember when her child was in 3rd or 4th grade, and now that child is married with children. It’s incredible how time flies, and you don’t even notice until you look back and realise how long you’ve been in the industry.
BAZAAR: How do you keep the passion alive after 25 years?
KH: Honestly, it feels like I just blinked, and 25 years have passed. I think it’s because we love what we do so much. We’re always busy working on the next collection. It keeps us moving forward.
BK: Sometimes I wonder why I keep doing this, especially when it feels so repetitive. But then I think about the next challenge, the next collection, the next source of inspiration. That’s what keeps us going.
KH: I believe that if you can sustain your passion and business for more than five years, you can keep doing it for the rest of your life. You’re likely to succeed long-term. Some lack the patience or resilience needed to keep going.
BK: Exactly. After those five years, you start to see what works and what needs to change. It’s a crucial period.
KH: Every designer has a signature style that sets them apart. How would you describe your signature style, and how do you ensure it evolves while staying true to your brand identity?
BK: When I first started my debut collection, I wasn’t entirely sure what my brand’s DNA was. But I did know that I love corsetry. I launched my brand in 2015, and at that time, corsetry was still new in the scene. However, I told myself not to overthink it.
There was one dress in particular, made almost entirely of boning with sheer fabric. That dress became an iconic piece from that collection, and it led me to focus on corsetry details, especially the cinched waist, in my future collections. Most of my clients come to me saying, “I want to look skinny.” That’s become my signature. Even in a very minimalistic dress, I include corsetry, sometimes hidden inside.
KH: When I see someone wearing one of your designs, I can tell, “Oh, that’s Brian’s work,” just by the cut, the drape, or the beadwork. Having your own identity is very important.
BK: Exactly. It’s about continuously improving on what you started with and finding better solutions to make it more modern and efficient. Corsets, for example, are not easy to make—they’re very time-consuming. So, I’ve had to find ways to make them easier to produce while still achieving the same result.
BK: What role do you believe fashion education plays in shaping the future of the industry, and what improvements would you like to see?
KH: I strongly believe in the importance of education for building a solid foundation and understanding. Every garment needs a foundation. Understanding the basics is essential. In addition to foundational skills, I think it’s important to see fashion from a global perspective.
We need to expose ourselves to the world, travel more, and understand different cultures and needs. The way people dress, think, and live varies greatly, and understanding these differences can greatly influence your collection.
While books follow a syllabus, real-life experiences offer a different kind of education. Talking to people, seeing the world for yourself. In the fashion industry, it’s especially important to talk to more people, gain more experiences, and get fresh ideas and suggestions.
BAZAAR: What about you, Brian? How would you answer this question as a lecturer?
BK: I tell my students to try different things and learn from them. Even if you fail—say you take a week to finish a garment and end up not liking it—what’s the solution? You make another one in a different fabric. That’s how you discover your DNA, right?
KH: Even today, we still do that.
BK: Exactly. I always encourage them to go out more—go shopping, even if they don’t buy anything, just to see the garments. I feel like they don’t see enough. Don’t be scared—go to Dior, even if you don’t buy anything. Just walk in, pretend you’re a regular customer, go to the fitting rooms, flip everything inside out, take photos, and learn from that.
KH: I learned that way too—flipping garments inside out to see how they’re made. You have to be smart about it, though. You can’t see the inside of a garment just from photos or social media. There’s so much knowledge and so many technical details involved, like the construction, technical elements, and finishing. Your dresses, for example, must have a lot of technical work inside.
KH: As someone who has navigated the early stages of building a fashion brand, what advice would you give to aspiring designers looking to make their mark in the industry?
BK: Take on challenges. In the first two years, you won’t know exactly what you want, so use that time to try different things, create different designs, meet different people, and understand your market. Figure out what your clients want, but don’t lose focus.
Even though they’re your clients and might ask for specific things, you still need to stay true to your style. Try to convince them to try something new or add a touch of your design style. That’s how you build trust with your clients, stay focused, and know what to do next.
KH: That’s why I always tell the younger generation, if you want to start a brand, do what you like first. Then, as you get feedback from friends, customers, or the press, you can refine and improve from there. Passion is key—it’s what keeps things going.
BK: And also, you have to sell. You can’t just create something you love but that doesn’t sell.
KH: Otherwise, it’s just a museum piece. But yes, for us, money is everything, haha!
BK: No money, no way to sustain the business.
KH: And no way to do the next collection!
BK: Are there any new markets or regions you’re looking to expand into, and what strategies will you use to enter these markets?
KH: Currently, we’re planning to release a new line that’s more ready-to-wear, which will be launched in Paris this September for the Spring/Summer 2025 season. Evening wear is quite niche. We’ve been doing evening wear for many years and can sustain it, but we’re looking to broaden our reach. This will allow us to cater to a wider audience and be more versatile.
We’ll need to appoint a showroom to represent us because it’s not our usual forte. When venturing into overseas markets, finding the right showroom is crucial. They often have space for a limited number of brands, and as an Asian, or specifically Malaysian, designer, it can be challenging to get a significant push. Sometimes showrooms will fit you in just to fill their space, but they may not actively promote your collection.
The most important factor is that the showroom loves your collection and is invested in long-term development. They prefer to work with brands that show consistency over multiple seasons rather than one-time engagements. It can take up to two years—three to four seasons.
BK: But what if the collection isn’t selling as expected?
KH: It’s a gradual process. You may not see immediate results, but even small sales are progress. Adjust your collection based on feedback and market demand. For instance, you might start with 30 SKUs but find that 20 is more manageable.
Throughout this journey, you’ll learn what works and what doesn’t by talking to buyers and understanding their needs. Buyers usually share what they’re looking for, so use that information to refine your approach and better align with market demands.
BK: If you weren’t a fashion designer, what other profession do you think you would have pursued, and why?
KH: I don’t really know. For me, it’s always been fashion. I never considered other jobs. Although, maybe I’d be a tai tai (太太)—a wealthy housewife!
BK: Haha! Same for me. I can’t imagine myself doing anything other than fashion design.
KH: At what point in your career did you feel you reached your defining moment—the point where you thought, “Hey, I made an impact. I made it”?
BK: It was really unexpected. I never anticipated certain things but look forward to them. One example is when I had the opportunity to design evening gowns for Miss Universe. I watch the competition every year, and suddenly I received a call asking if I was interested in creating the gowns. Plus, I only had three months to complete the process. It was so fast-paced that I didn’t have time to fully grasp what was happening. After the press conference, I was like, “Did that just happen?” But yes, we made it.
KH: Next is J-Lo!
BK: I hope so! I look forward to dressing a Hollywood actress one day. How did you feel after dressing Hollywood stars like Katy Perry?
KH: Mostly, we have PR reps and communications agencies that handle this. We send a selection of clothes every season to the showroom. The agency then picks what they want, and the stylist chooses outfits for specific occasions or celebrities.
We don’t always know immediately which pieces will be selected since we receive a report a month later. Unless there’s a specific requirement from a stylist or if they need alterations. Otherwise, we don’t know which dress will be worn until it’s chosen. Celebrities often have a selection of dresses to choose from based on their mood at the moment, so it’s a bit of luck.
BAZAAR: Brian, when you were in Paris, you had the opportunity to work with Dior Couture. What were some key takeaways from that experience that you’ve applied to your own designs?
BK: One major takeaway was the approach to embroidery. I remember one day seeing a lot of historical embroidery samples from the 50s and 60s left on a table in the showroom. The head of the department asked me to help arrange them, and I was amazed to be able to touch and examine these pieces. This experience motivated me to focus on finding a skilled team for embroidery and to experiment with different techniques.
It was a memorable experience. I remember picking up a Dior dress worn by Jennifer Lawrence at the Oscars. The fittings and casting sessions were intense—seeing hundreds of models eager to be noticed was eye-opening. Working in the Atelier was also a great learning experience; I was there for three months and gained invaluable insights.
BAZAAR: How did you manage to secure an internship at Dior?
BK: It was a bit of luck. A classmate who was already interning there called me and asked if I needed another internship. I had just completed a previous internship and was considering going back to Malaysia for my sister’s childbirth. But after thinking about the opportunity at Dior, I decided to go for it. I texted them the next day to confirm my start date.
KH: It’s tough in Malaysia; we often only get second-hand news about what’s happening in the fashion world.
BK: Yes, it’s challenging, especially for students trying to secure internships abroad. They often require specific visas, and you need a host school or organization in the country. It’s a complex process, but it’s worth the effort for the experience.
BAZAAR: As male designers working in women’s fashion, how do you approach understanding and interpreting the needs and desires of female clients? How do you ensure you can fulfil those needs?
KH: I think, as a male designer, you might have a unique perspective. There’s less personal bias or jealousy. You approach it more neutrally, focusing solely on making the client look beautiful without competition.
BK: It’s crucial to understand what clients are looking for. It’s funny too sometimes. A client comes to you and says, “Oh, I’m very like, uh, down to the earth.”
KH: No, trust us, they are not, haha!
BK: Sometimes clients say they want something very minimal and understated, but in the end, they might want something more striking. They come to designers to create something special and unique. With experience, you can guess what they really want.
KH: Exactly. They never tell you the truth, but you can guess what they want. You develop an intuition for their needs.
BAZAAR: What should we look forward to in the coming year?
KH: For me, it’s all about ready-to-wear.
BK: I’m looking forward to a great show at Mercedes-Benz Fashion Week!
Read more on our previous designer dialogues here.
