Used to be heros

When a designer and his accountant mate decided to go into business, little did they know that two labels and 20 years down the track they'd still be learning from each other, as Tracey McEldowney reports.

Ego - or rather a lack thereof - has played an important part in the story of Verge founders Ian Webster and Neil Brabant.
Without a certain amount of it they could never have survived two decades in the cut-throat world that is global fashion export. Too much of it and their friendship would've died, together with their business.

Quite aside from the various highs and lows that have kept them honest, the pair say it is their respect for each other's strengths and weaknesses - rather than a particular design or business strategy - that has been the biggest factor in their longevity.

Webster was working for the New Zealand arm of US-based denim label Sasson when he and Brabant - working himself to a frazzle at a Kiwi accountancy firm - first formulated plans to initiate their own womenswear brand.

With Webster taking charge of the design and Brabant naturally taking care of the business end, the pair launched their first label Hero in 1987. And with its clean aesthetic and bold styling, Hero became an instant hit.

Nine years later, they sold the company and in 1997 launched the label that would later garner them their most commercial success, Verge. Targeted at women aged "30 and beyond", Verge employed a similar aesthetic to Hero only with more diversity and more fashion forward styling. Having watched the demise of Hero in the hands of its new owners, Brabant and Webster's loyal customers were quick to turn their attention to the new brand.

With most apparel companies focussing on the core youth market, the new upmarket label appeared to open up a whole new world to women over 30 who traditionally had been lumped with shapeless, and often frumpy offerings designed for a much older demographic.

Having enjoyed that early commercial success, Webster and Brabant soon turned their attention to export opportunities and - with the help of Sydney-based sales agency Susie Sharrock - began selling in Australia. Their decision to move their production base offshore failed to deter their fan base and in 2002 the brand grew its business here by 50 percent, gaining another 30 percent the following year.

Brabant admits the early years proved tough, but the pair adopted a mantra he claims always helped ensure the business would be around for another season.

"The rag trade is a tough industry and to succeed you have to under-promise and over-perform. We learnt that early on and if you can work to that philosophy, and understand the concept of building a brand and the integrity that goes with it, half your battle is already won."

Today Verge, which offers sportswear, eveningwear and daywear, has more than 200 Australian wholesale accounts with 65 percent of its rumoured $16 million turnover coming from this side of the Tasman.

Boasting accounts in each of the country's eight states, their list of stockists include such names as Nunie in the ACT, Directions (NSW), Country Classics (NT), Zest (QLD), Blondies (VIC), Vertice (SA), Yeltour (TAS) and Lizzies in Western Australia.

Webster admits theirs is an enviable position to be in.
"We've actually gotten to the point now that we're not really targeting new business. In fact we've actually closed our books to new retailers and are just concentrating on doing our job better."

For Brabant who is married with children, this involves being at the coalface ensuring production is on time, suppliers are paid and staff are happy.

For Webster this means managing the design to ensure it continues to evolve to continue to meet market demands and also taking to the road to spread the Verge message.

But both men also feel compelled to give something back to the industry that has offered them so many opportunities.
For each of the past three years, the pair has sponsored an initiative dubbed 'The Verge Breakthrough Designers Show'. This involves identifying and then fostering a group of young design talent, putting them through their paces via what Webster describes as "boot camp", then offering the best four or five the chance to stage a show at Air New Zealand Lonely Hearts Club and Charmaine Love.

For Susie Sharrock - whose agency has worked with Webster and Brabant for 13 years - the camp is typical of the pair's conduct in all aspects of their business and it is this approach that has been ultimately fundamental to their success.
"I don't think I've ever had a relationship with any client like my relationship with these guys. Working with Ian and Neil has been a real delight and as you know, this trade is not always that delightful."

By Tracey McEldowney