International trader

It’s known for its signature collections of kaftans and its roots are still closely tied to its home in Bondi, but today womenswear label Camilla attributes 47% of the company’s global market share to the US. Designer label Jennifer Kate made the decision to temporarily isolate its wholesale distribution to Australia to focus on its burgeoning growth in the States and womenswear brand Bec & Bridge are travelling to New York, Miami and Paris to drum up business.

What do all of these brands have in common?

They invest in the value of international trade shows to maximise wholesale and distribution with buyers from major retailers.
Bec & Bridge brand and sales director Jordana Sexton says that making the global leap has boosted the brand’s presence and profitability in the global arena.

“We find that buyers rely on you being there. If they are watching your brand for a few seasons and they come back to the show next season to find you, they will trust you as they have built up the confidence in your brand by coming and seeing you at the shows.”

Sexton says that Bec & Bridge has honed in on key international events such as ENK Coterie in New York and Las Vegas, Coast Miami, Cabana Miami and Capsule Paris.

As a result the brand has managed to secure major wholesale accounts with some of the world’s leading retailers including Harvey Nichols and Urban Outfitters.

Cabana Miami alone attracts buyers from Bergdorf Goodman, Harvey Nichols and Matchesfashion.com.
Jennifer Kate founder and designer Jennifer McCloy says that booming business in the US has been leveraged directly from exhibiting at Capsule New York, Coterie New York and Project Vegas.

“The success of the Jennifer Kate brand in the US can be heavily attributed to our presence at these shows. We have focussed on the larger chains and it can be difficult to get in front of them without harnessing the power of these shows. Our product is very tactile, so presenting it in person has been key in building these relationships.”

McCloy explains that despite tight buyer budgets, showing on the floor offers efficient transactions for both the buyer and the brand that can boost business rapidly.

“Buyers from the larger chains are given a specific budget plan to follow – ‘x’ amount for leather, ‘x’ amount for dresses, ‘x’ amount for international brands and so on. They are time-poor and working in larger markets where there are a huge number of brands vying for their budget. Many of the category buyers from the larger retailers will focus on these shows purely to scout new brands – just for efficiency!”

Despite the opportunities, McCloy does reveal that it’s a double-edged sword and in a saturated market, start-up fashion businesses simply cannot afford the cost of losing out on business.

“Standing out from the rest of the group can be a challenge, particularly as a new brand, but there are ways to do this strategically. It is important to choose the right show for your brand and just exhibit everywhere – these shows are an expensive exercise from start to finish so it is crucial that every show drives enough sales to be a profitable exercise.”

For the record, brands who wish to exhibit at Capsule, for example, are expected to pay around $3000-$6000 – that’s not even counting the hefty air fare required to travel from Australia.

So what are the odds of gaining traction with buyers?

According to statistics published by the US-based Trade Show News Network (TSNN) 81% of trade show attendees have buying authority and 46% of these buyers are in executive or upper management positions.

On top of that 45% of attendees only visit one exhibition per year – a nod to McCloy’s point about approaching shows with selectivity.

House of Quirky director Rachel Evans agrees that competition is perhaps the biggest challenge for exhibitors.

“Competition is always fierce at these events – you definitely have to make sure your branding and product is strong, as well as competitively priced.”

Evans divulges that the brand house made the decision to launch new categories including Minkpink Move at certain shows, seizing the opportunity to present the range on a large platform to the right people.

Today, House of Quirky has secured wholesale partnerships with Topshop, Asos, Urban Outfitters, Forever 21, Nordstrom and Revolve.

Despite strong performance in the US, Evans says that House of Quirky is surging forward in the UK, with plans to expand further into the European market on the cards.

“In the UK, Pure London is our main focus and we’re also looking at some French shows such as ‘Who’s Next’ for 2016.”

To help maximise the opportunities presented through trade shows, the rise of digital wholesale marketplaces such as Joor have also launched, aiming to allow brands access to buyers before meeting in person.

Sexton says that Bec & Bridge hasjumped on board with Joor and believes the decision has helped streamline communication with potential buyers.

“Joor is a way for us to connect with international buyers before meeting them or inviting them to shows to see our collections. Before a sales season commences, I will reach out to my targets via Joor and request to connect. Once they accept, I will message them through Joor and send them imagery and line sheets so they can see what we have to offer in the market. I find this a far more effective way of securing a sales appointment than directly emailing or cold calling buyers because they can see who our current connections are in Joor, many of whom would be stores that they know of and trust.”
And in the game of buying, Sexton suggests that retailers like to know who they’re up against and if other stockists reflect similar brand alignments.

“It’s reassuring for buyers to know who we currently supply to because they can see where and how Bec & Bridge will fit into their mix.”

As for making an impression, Sexton reveals that only 20% of buyers will confirm orders on the spot at trade shows.
For big retailers, the process is more complicated.

“The majors will go back and analyse sell through on the brand, silhouettes etc. to make sure they spend their money on the right shapes that have a strong sell through. This is always more accurate when they step away from the show. It also alleviates any cross over on styles from brand-to-brand.”

On home soil, another online wholesale platform Ordre is being spearheaded by the founder of Mercedez-Benz Fashion Week Australia Simon Lock. With offices in all major international fashion hubs, the platform has reportedly connected designers with around 2,650 individual retailers, buying executives from 93 countries and is representing 543 markets across the globe.

Australian designers who have signed on include Bianca Spender, Ginger & Smart, Zimmermann and KITX. Considering the connections that Ordre has made since its inception, these Australian designers could have greater access to wholesale and distribution partnerships than ever.

And while value in travelling to international trade shows continues to reap huge success for many Australian brands, the arrival of digital marketplaces could herald greener pastures for emerging talent.