The questions I'm going to ask will take an entrepreneurial angle, because this is an entrepreneurial award. First, I'm going to ask you about the birth of your company Allan Chai Fashion Design. How would you describe your business?
I would say that it is a business of vibrancy and colour. My focus is fashion, but not limited to it. The concept of my business is to introduce colour into our lifestyle. To use colour to mirror life, because metaphorically speaking, life and the events in it are colourful. The fashion industry is special amongst many others and has more in common with the arts. It's more abstract than many other businesses - colourful and creative.

You mentioned that the fashion has more in common with the arts in terms of creativity. Yet ultimately you are a businessman, and in business we're always talking about money. How do you reconcile the conflict between your art and the need to stay in business?
The scope of my business is very broad. I have areas of work that I do to please myself - these are free from any economic considerations. But at the same time I do other areas that bring in the revenue.

For example, there are times when I act only as consultant, which allows me more free play as I need only come up with design concepts, I have no need to worry too much about the realities of design.

But other jobs may require more. For example, when I am asked to design uniforms for hotel staff. I have to balance many considerations: the design should blend in with the existing image and interior design of the hotel, it must be modern and trendy, the uniform should functional and practical, require little maintenance, be durable. I don't see these considerations as a bad thing. Rather as a designer I view them as challenges.

Handling individual clients present a different set of challenges, I would need to find out the clients needs, and come up with a corresponding image. This is different from ready-to-wear. When a customer walks into my shop he wants a piece for a specific purpose and he can just pick off whichever design suits him.

At the end of the day I run a business and my top priority is to satisfy my client, and as a designer I have to apply my ideas flexibly. I can't force my ideas on my clients. This conflict and compromise is a reason why I say the fashion industry is vibrant and colourful.

Though I'm an artist, I still have to eat. I was one of the earliest Singaporean fashion designers. For 20 years I've been lucky, I have managed to satisfy the market with my designs.

Have you never met with any serious conflict between your artistic integrity and your business at all? How would you resolve such a situation? Can you give an example?
The most important thing when faced with such a conflict would be to resolve it immediately to the best of your efforts. Don't just give up. Of course, if I was really forced into a corner then I would let it go. But I've been very lucky not to have met these problems.

Also I have been very fortunate because I've managed to create a name and niche for myself and my designs. So most of the time, clients come to me because they already know my concepts and ideas and they want me to design something for them based of MY ideas, and there is not too much conflict.

As an artist in the fashion business, you must be flexible and not just cling to your own artistic ideas. In the early days, fashion design was not seen as a profession, but now it has been accepted as one.

Now as an artist what do you think of the government's move to the arts as one the driving forces behind our economy. Would that not be a degradation of the arts?
The government is trying very hard to promote the arts. But it will take time for it to be widely accepted by the general population. I feel that they have to take it slowly because it may not be acceptable to be everyone, they can't stuff it down people's throats. Even if they bring some world class acts to Singapore, they still have to take it slowly.

Personally, I have no problems with using the arts as a driving force behind the economy, though maybe not completely, there must be some art for arts sake as well. The IES (previously the Trade and Development Board) has helped me tremendously. Since the early days, they have always supported local designers. They have always sent us to participate in international fashion shows and exhibitions in Tokyo and Paris etc. It really opened my eyes to the rest of the world.

1984 was the first time I participated in the Pret a Porte fashion fair in France. In the early days, I used a very strong oriental flavour in my designs. Buyers used to tell us that our designs were indeed very beautiful, but unfortunately it wasn't practical. Oriental design wasn't very trendy at that point of time, so didn't sell very well. But at that particular fair, I didn't have any grand ambitions, just to take a look at the wider fashion world. In 1986, I switched strategy and used beads in my designs and I managed to break into the French market.

But don't you think using the arts as an economic driving force. Would that not be a degradation of the arts?
Not at all. In my business for example, I approach fashion in a very broad way. I have the haute couture side of my business, but at the same time one must realise that there is good demand for ready-to-wear clothing that has a more mass market appeal, and may be good art in that sense.

Others may choose to specialise in either. That is not a bad thing, but despite having specialised, I feel that one should not confine oneself rigidly to any particular side of the business. This is because there is business potential on both the mass market as well as haute couture.

So am I right to say that what has kept your business well and alive all these years is your flexibility.
Yes. That's right. And of course I constantly keep abreast with the latest fashion trends around the world. That's why I do so much traveling. You can't remain stagnant - you have to keep moving forward.

So that's why recently you've been to Hong Kong … and which other places?
I've also been to France, New York. We're thinking of expanding there as well. I usually concentrate on haute couture in my overseas markets.

Why is that so?
Why mainly high fashion? We have very high labour costs and overheads in Singapore and we can't really compete with Asean and China in terms of mass production. So the only way we can compete and carve a niche for ourselves is to bank on our creativity and the uniqueness of our work, and thereby justify our prices. You can't possibly compete with Indonesia, China and Malaysia in terms of meeting mass market demand.

What about your family background? Do you come from a very creative backgound?
Not at all. In fact when I first mentioned the idea of going to Nanyang Academy of Fine Arts to study art, my father was the first to object. To the older generation then, to study fine art was akin to being an artist. He asked me how I was going to earn a living as an artist. Now he has realises that my studies in fine art have served as a foundation for fashion design and that it is a great passion. I have applied my studies in fine art to my fashion design business and that is how I've created a niche and carved a name for myself. Studying fine art does not necessarily mean you have to become an artist. But back then it was impossible to earn a living as an artist. When I first started out, I tried a few other things like advertising as well as interior design. But I later found that I was very suited to fashion and I decided to devote my energies to it.

But you always knew you had a passion for design?
I always loved to draw. But in my early days I never really thought about applying my love for drawing to design and never expected it to be the core of my business.

So when did you know for sure about your passion for drawing
It was after I graduated from high school, about 15-16 years of age. At that time, I was considering the options available to me after graduation. My grades weren't too good. Then I met my secondary school teacher. He said I had a lot of talent and passion for drawing. He encouraged me to sign up with NAFA. He was a real motivation for me. He found out the address of the school for me, took me to see the school and even went so far as to visit my father personally to convince him to allow me to attend art school.

Which subject did this teacher coach you in?
It was Chinese.

And what secondary school was this?
Well I'm actually from a small town in Johor. I'm a kampong boy.

I never expected my studies in fine art to have such wide application - to my fashion business. Which is why I always say that having a foundation is very important.

You've come a long way.
Yes I left Malaysia for NAFA at 18 and I spent 3 years studying there. And I graduated in 1974.

Who supported your art education?
I studied and worked at the same time. Then I took on almost any job.

It a very difficult time for you.
Well I was young and I had the energy to go on. But even then it was different for me compared to the other students, who could continue practicing even after class. I had to work.

In Singapore it is ironic that the people who seem to dare to take risks are those who don't have the degrees and the paper qualifications, and the graduates don't seem to dare to do so? Do you think this is a failure of the education system here in Singapore?
I think it all depends of the individual. There are those who are happy with their present situation and don't see the need to fight in business.

What about based on what you see in the fashion industry?
It really depends on personal perserverance. You must have great belief in yourself. When faced with a task, I always have a target and then I ask myself if the task is within my ability. And after that I ask myself what I need to prepare for that task. And that is why so far, I've succeeded at most things I've set out to do.

So did a formal education at NAFA do for you?
It provided me a with a the basics of drawing. Provided me with an environment for art. It was a specialised fine art programme. But it depends on how you want to develop your career from there. But it gives you a very good foundation.

The benefits [of a formal art education] show when you need to draw your designs. People often ask me why I'm able to draw beautiful designs very quickly, whilst others take a long time. And the answer is that I have a very good foundation in drawing.

So you think that a formal education is still necessary?
Yes a formal education is still necessary. Although the education system here is very stressful and strict. But there are merits in the stress. For without pressure how can we progress? It really depends on how you want to look at education. Some parents send their children abroad at a young age because they think the system here is too stressful.

Personally I don't think so. Getting your foundation right at a young age is paramount especially from the primary to secondary school stage. It may be stressful but it certainly has its merits.

But it seems that the people who are making it in business now don't seem to have done well at school.
Well I would still say that it really depends on the individual. Their individual perseverance and foresight, whether they're able to make use of the opportunities thrown on them.

So you still think that formal education is necessary.
Yes your qualifications on paper are still important. You need them to get into the right certain schools, unless you're so gifted then there may be special consideration given to you. But that's if you're so exceptional. It's very important to get your foundations right.

I know that certain art schools in the UK are actually focusing more on concept as opposed to technique, what do you think of this?
Personally I think that technique is more important than concept. Having grasped your technique, your concepts will be more practical.

Also when being in business for so long, one finds that knowing how to deal with people and treat people with respect is very important, especially to those of us who're Chinese educated. We value interpersonal relationships very much. It's very important for us to be humble. But of course not to the extreme. You have to give yourself credit at the appropriate and suitable time.

You say interpersonal relationships are very important.
Yes, it's also helps with selling your product when you give excellent customer service. Both may be selling the same thing but you may be able to convince your customer to pay a premium through quality as well a good service. And the customer will feel all the better for your service.

You've always regarded Singapore as your base?
Yes Singapore has always been my base. Singapore is very central and well-placed geographically. It is more developed than its neighbouring countries, information is readily available and it's more cosmopolitan and one gets to see more of the world. It has good infrastructure and it's very efficient.

That's also one of the reasons why I gave up my Malaysian citizen and became a Singaporean.

Where is your clientele mainly from?
Well it depends on which of part of my business you're talking about. For my made-to-order I have many foreign clients. Recently there are quite a few HongKongers and Australians. They are my regular clients. This is mainly due to the good service I offer. I can meet their expectations and demands, so even if the price is slightly higher than the rest, they don't mind paying.

Also they help me promote my business through word of mouth, such that when they come to Singapore they would naturally look to Allan Chai. They tell their friends, when you first arrive in Singapore just drop by Allan Chai to see what kind of dress you want and you can have complete peace of mind for the rest of the holiday and when you come back your dress will be ready for you.

Which client has left you the best impression? Are Singaporeans particularly stingy? Do they try their best to haggle?
Not really. When faced with such customers I would try to convince them that my product is really worth their money. Others may not be able to produce the same quality of work as I can. For example, I would even do freehand drawing of designs directly on the cloth, not something which every designer is able to do. All my embroidery and sequin work are etched onto the fabric by myself.

So that's why I say that foundation is very important. I don't have to rely on a third party to sew for me in order to realise my concepts. I'm able to rely solely on myself to put my designs into reality. And this is perhaps my greatest strength as compared to my competitors.

Do you have any plans to expand into the China market?
Yes the china market is huge and there is great potential for business. However I would not break into the China market by myself unless I'm able to find a suitable Chinese partner from China itself to go into business with me. When I say suitable, I mean a partner who is sincere and genuinely interested in my product and akin to his interests.

I have no doubt that my products would be able to sell in China. The problem lies with the fact that I've not been able to find a suitable partner.

China has its potential. But when I attend International Fashion Shows I find that China lags behind in terms of its design, it can be fairly outdated.

What about quality?
Well there is room for improvement in terms of quality. But there are a few good manufacturers. But these tend to be the products of joint ventures. You need foreign expertise to form partnerships with the locals to produce these.

Using our experience and creativity combined with their cost of manufacturing, I believe there is much potential in such partnerships.

I don't think I could jump into the China market without any consideration. It's a big complicated market and you have to deeply understand the local culture, or you have completely devote your attention to it.

I would like to but I just haven't found the right partner. You have to find a local who's genuinely interested in doing this and I just haven't found the right person.

If you asked me to jump into any market I would rather go into the French market or the UK market. Because I know that my products would be able to sell there.

Do you have any personal experience? Have you been there yourself?
Well there was a point of time when I went to Beijing quite a bit, and I found that they're very opportunistic. I get the feeling that they promise a lot, but they don't really deliver. Yes. I would like to do business in China, but I just haven't found a suitable partner yet. I feel that we are able to combine our expertise and creativity with them and raise their standards of products and push this product into the international market.

So it's hard to find someone who's sincere and you can trust.
Yes they are can be very slippery and it's not easy to find one you can trust. To find one that has confidence and interest in you. If you don't understand the China market you would fail.

I have had discussions with a few people but I've not been satisfied with their response. I think it's very difficult. So that's why I've still been focusing on expanding to Western markets especially concept work. For example I've been asked to design hotel uniforms for a Morocco hotel.

I've also been asked by an international hotel management agency, to consult as a fashion stylist for their uniforms in China.

So you have to go in with outside help.
Yes. You can't break into it yourself. Unless you have a solid international reputation, or something that they have a demand for and can accept. Something that they don't have. And for course you must have some capital to back you up.

But even after you manage to break into the market, you have to take care of production. Their style of working is vastly different from Singapore's and that's why I have great apprehension in entering their market. More than France or Hong Kong. These places are rather stable.

Do you know of any other businessmen who have succeeded in entering the China market
Yes, the people at China Silk House. Of course they have had a long history of dealings with the Chinese.

Have there been economic returns for these people who've invested?
Yes and no. But things are changing very rapidly in China and what hold true now may not hold true in future. Look at Shanghai, it's moving so quickly.

The money is there. You may have many well laid out plans, but even after you manage to break in, you have to adapt to their methods of working. And all this will take quite a few years.

When was Allan Chai Fashion Design incorporated?
In 1978.

Was it very difficult to set up a fashion design company in those early days?
Yes it was more difficult then. Singaporeans then were more receptive to foreign products and looked up to them as being superior. And everything local was measured against foreign products.

But of course then foreign brands had better advertising and promotion. I believe that even if you have a good product it is very important to package and brand your product well.

In the early days it was fairly difficult. We constantly had to rush designs for fashion shows and we had to do it all ourselves.

What was the single most difficult problem you encountered in the early days?
It was getting Singaporeans to accept local designs. I feel that you have to gain acceptance locally before you can push your product internationally.

Then of course the then TDB came along and pushed us into international fashion shows. And I've been very lucky to represent Singapore in international events and conferences. And I learnt a lot in those years and managed to improve myself tremendously.

So you're a success story of government intervention in private enterprise. But don't you think that it's rather ironic that the government should get involved in what should ideally be a private enterprise?
Well the government can only help you so far. You still have to make full use of those opportunities given to you.

So you think the government has a role in encouraging private enterprise.
Yes. The government has been very helpful. Sometimes they sponsor you fully, at other times they match you dollar to dollar. For example in the Paris exhibition, each designer was given a counter to promote their items. But having done so, it still depends on whether you're willing to seize on the opportunities.

Which reminds me of a particular incident at one of these fairs. There were some young designers there who were there just to have fun and take a look at things and basically weren't very serious about their work. They accepted some orders but subsequently didn't deliver. This was very wrong as they affected the reputation of Singaporean designers generally. If you accept an order you must be able to deliver. Sometimes when we go back to these fairs, buyers come forward and complain about why certain orders weren't filled.

When was this?
It was in the 1980s. So that's why I say it's really up to the individual to seize the opportunities. The business is there but whether you seize on them and deliver your goods on time is a different matter.

So I think the govt has been very helpful and I think it's right that they should come forward to help us, as this has helped us compete in the international arena, and thus provided with many opportunities.

You discovered your flair in drawing in Secondary 3. Was there a single incident which sparked this interest off?
Yes actually. I was from a poor family. And I took some old clothing and cut it into a pair of shorts. My mother was impressed with my talent that I managed to do something. I didn't know why I did it. I was poor and my family couldn't provide for everything. So I had to do it myself, so as not to let anything go to waste.

It was only after I entered NAFA that I really started to think about which aspect I wanted to focus on and I decided that fashion was the most suitable.

Besides your father, did you ever have any personal doubt that came from within yourself about your choice?
No. In fact, my father's disapproval even served as an encouragement to prove myself and to prove him wrong. Even though I had to work to support my education.

You had no doubts whatsoever?
There is nothing to doubt. You chose this path yourself. But I've been very lucky in the sense that my choice of studying art can be applied to the business of fashion. And I've been very lucky in this aspect.

Another thing that I always wanted to do but could not because I was poor at that, was music. I've always loved music.

When was that one moment when you decided to go into business to make a business out of your art.
Competitors, changes in the market and the economy motivate me to keep striving to become better.

Who/What motivates you?
Well after NAFA I went to England to further my studies in fashion design, and when I came back I worked for a few department stores but after some time I realised that this was not the way. I decided that if I were to set up a business at least I would reap the benefits of all my labour and get more satisfaction that way.

So in 1978, I set up my business. But of course I did face some difficulties. There were cash flow problems. There were 2 partners with me that time. And I contributed the least. After 3 months we were in need of more capital and the person who had contributed the most to this joint venture asked why he still had to contribute yet more money.

This was a major setback and it exposed our differences. I was of the belief that you can't possibly expect profits to come immediately. But he wanted to see profits immediately. And after 6 months he opted out. And he wanted his money back. This was one of my greatest challenges. This happened in about 1978.

I left home to strike it out by myself from a young age - I have always been self-sufficient and independent. This is why was flexible able to react to the conditions around me. I had other strengths besides just designing. I was also able to teach. I conducted classes in fashion thrice a week to support my company.

My third partner ran into some difficulties with his family about 1 year later and he left the partnership as well, leaving me as the sole proprietor. Ross [Chng] later joined me and with his tremendous support, helped my business break even.

I came to realise that in business you can't handle all aspects at the same time and this is where Ross was a tremendous help, we complemented each other very well. He was in charge of the public relations aspect, promotion etc. I dealt with the artistic, creative aspects and production of pieces. And this is one of the reasons why my business could succeed.

Now I've noticed that Ross wears colours that are more sombre and dark. While you clearly like to wear colours. Does this have anything to do with your personalities and syle?
Well it's all about your dressing suiting your personality. Furthermore I think as a designer, what I wear represents my business. And it would be easier to persuade your clients. It definitely helps with the packaging and being able to sell your product.

What about Ross' background? Is he a designer by training as well?
He has more sales background. He was also previously a tour guide, so he's definitely more glib and better with words, and that's why we complement each other so well. For example when we meet clients for presentations, I would focus more on the presentation itself and he would focus more on selling and promoting the products of Allan Chai.

When did Ross join your business?
He joined me part-time in 1979. It was only subsequently in 1982 that he resigned from his full-time job to concentrate fully on my business. And I also started designing uniforms.

He joined me when I was facing the most difficult time in my career - from 1978-1981. It was really challenging then, I was at my wits end thinking of how to return money to the third partner who had pulled out.

So what and when was the turning point in your business?
It was when somewhere in from 1982 to 1986 when we went overseas more and gained more exposure in the international arena. Locals had also more awareness of the quality of our designs.

And I've been very lucky because when people think of Allan Chai they think of me as one of the pioneers in the fashion industry in Singapore.

But there only a few of us left from the pioneer batch.

Why do you think so?
Because they couldn't break even.

What about the younger generation of designers? How do you think they can survive?
The Singapore market is very small. So they must be flexible and be able to cater to many different wants of your clients, and not just do only one thing. Also important to conquering the market, is for them is to develop a strong sense of personal style.

For example when people talk about oriental designs or the cheongsam, people will automatically think of Allan Chai.

Who were you earlier customers?
Mostly tai-tais and professional who required made-to-order pieces. Most of my business was to design hotel uniforms and export wear.

It was only in 1990 that I came up with my first ready-to-wear label - 1990 Allan Chai.

Was there any client in particular which left an impression.
Well there was one American girl who left a particularly strong impression. Her mother was a regular customer. She was on holiday and on this occasion, she accompanied her mother to collect a piece. She saw a dress in the window and she said that it was absolutely beautiful. And she said that when she gets married she would order a piece exactly like that in the window and she took a photo of that piece. And I even took her measurements.

3 years later, I received a call from her. And she asked me if I still remembered her, and of course I remembered. She was getting married and asked me to make that very dress for her. She faxed her measurements over and I made it according to that and sent it over to her. I later received a thank you card from her, saying that it really made her feel like a princess on her wedding day. And that was very touching.

And there was one point when the Singapore dress was in great demand. And I used to make a lot of clothes for our leaders. I was also sent by the NTUC to Japan to design the Singapore dress print.

There was a particular incident as well which I remember. Then-president Wee Kim Wee, wanted to present a special shirt to the then-president of Indonesia, Suharto. And President Wee brought a special orchid which was named after Mrs Suharto, and wanted me to embroider the design of the flower onto the shirt to be given to him.

He gave me a lot of encouragement. To go abroad to expand. But of course I couldn't force the issue, there was the question of getting the right partners as well.

How did you cope with the economic crisis of 1985, the Asian economic crisis in 1997, and the present recession?
I must admit that I've been very lucky. I've always been flexible to provide what the market wants. But nonetheless I have been affected, consumer prices have been going down and my revenue has been affected.

Personally, I don't believe in cutting my prices as a primary measure, because once the market is depressed it would be hard to justify your prices once again in the upswing. Of course I could compromise on the material and workmanship, but I don't believe in that. I would still insist on quality to justify my prices as well as service.

The 20 plus hotels which we supply have also realised this. There may be cheaper manufacturers willing to produce their uniforms, but they realise that they wear out faster. Whereas ours are more durable.

So if the quality and service is good you would still be able to survive.

So what's a normal day like for you outside designing here at your busines?
I am fairly interested in the arts, so sometimes I would go to a concert. Or I would travel overseas quite a bit to keep up with the latest trends. In terms of fashion you would have make quite a few visits to the fashion capitals of Europe, because although information is readily disseminated here there are certain things you don't get to see. And of course to take a bit of a holiday. And how to combine the latest styles with your designs.

What's a bad day like for you?
When I can't deliver my goods in time. When I've made a promise to deliver, but for reasons beyond my control they don't arrive in time. And you have to deal with it personally. I am very stringent about quality control, so I and Ross personally will check the pieces before it is handed over to our customers.

If your fashion business had failed then what would you do?
I would go teach. This was another ambition of mine, to be a teacher. But I've been very lucky to be able to fulfil my wish albeit on part-time basis. I've taught part-time courses in fashion at the local university, childrens' art courses at comminuty centres etc. My first love is still fine art and I would go back to teaching art.

But is there any other line of business you would go into?
Well I think I would go into F&B.

Oh yes, there's your restaurant Red.
Yes that restaurant did take off and it was quite a success. Till now I still get phone calls for reservations. And this was an indication of succcess. Foreign TV stations, magazine all requested to do a story on the restaurant.

But because I wasn't able to devote all my energy into the restaurant and my core business was fashion, I made the difficult decision to leave the business. Problems needed to solved all the time, which we couldn't afford to. It was distracting me from my core business of fashion, so I decided to close the restaurant.

But if you asked me what kind of business other than fashion, then I would say F&B. Because I'm fairly interested in gastronomy. But then I wouldn't do what's fashionable at that moment. I would do something that's different from other restaurants.

Am I right to say that to corner any market you have to find your own niche?
Yes, that's what I've always tried to do all the while in my businesses. The path I've taken has always been to find a niche for myself. Yes I would still go into the food industry but something which has its own special flavour and concept.

Do you think that the F&B has very high overheads but very little returns.
Not necessarily. The satisfaction you get from seeing your satisfied clients of your restaurant, give you a very strong sense of satisfaction. Feedback like how a Chinese restaurant can be given such a unique intepretation and how original it is, is evidence of success. It more than makes up for your effort.

This restaurant wasn't a so much money-spinner for you then.
No, it wasn't so much a money spinning-venture. It's something I did to prove to myself that I was capable of doing such ventures. It stretched us in terms of concept. We had to harmonise the colours. Presentation was equally important to us. We adopted a western style presentation but we insisted that the food itself remain quintessentially Chinese. A lot of people were surprised that we managed to pull such a east/west mix off whilst others had failed. For example we come up with concepts for people and in the course of my business I was invited by a businesswoman to come up with the concept for her restaurant in Medan. And we went over.

Do you think F&B is risky venture for a first-time entrepreneur?
Well I think that you need to be personally involved in every step of the business. Unless you have a partner who's able to devote himself entirely to the business. Never follow blindly the trends of the day. The most important thing is to have your own style and ideas. But to me quality is of paramount importance. You have to make people feel that they are getting their money's worth.

Well I have always had an interest in food and the preparation of such. I'm also a student of law and so for me to actually give up my profession and move into the unknown is very difficult.
Yes it is a pity. To me food is an art. And sometimes when clients come to me saying that the food is so well presented that it would be such a pity to eat it. And it gives me a good feeling.

And when times aren't looking too good. Is there anybody in particular you share your problems with? Ross?
Yes when faced with a problem we will sit down for think over why such a thing happened. But I wouldn't get too depressed. The most important thing is to sit down examine the causes and solve the problem at hand immediately and not to mope over it. Face the problem head on, and move on. And after that you'll feel that you've made progress, and faced the problem.

I feel that the younger generation haven't really been tested by adversity and very often we don't know how to face failure.
I think the young should examine the problem and find out what's wrong. Was there a lack of preparation? Was there something I did wrong?

And after that don't be afraid to try again. And encourage yourself to carry on. And it must come from within.

But finally of course you've failed the first time I think you must also be realistic and realise your limitations. Don't allow yourself to mope about failure about it and move on to other areas.

Sometimes you have to consult more experienced people. If your parents can offer some advice then that will be good. I personally enjoy consulting some older hands in the business and listen to their opinions about the matter. Because you'll invariable gain some insight from them.

What about your parents? Do you share your problems with them?
Yes I will. But my parents have a lot of confidence in me. I left home at 19 years of age and I didn't use a single cent of theirs. So they invariably tell my younger siblings, "look at your brother, what he owns now is entirely the fruit of his labours. I'm not really not competing with anybody in particular, I think I've been luckier than most people and I've accomplished more than most people. But of course I can't let myself be complacent and rest on my laurels. I will still strive to improve myself. And on embarking on new ventures I will make sure I do my homework before I actually embark upon a business.

You mentioned earlier some "older hands in the business". Who exactly are these older generation of people?
These can be any businessman there is no one in particular. Not confined to the fashion industry. Some of them I knew for my earlier days a part-time reporter or maybe when attending some functions - parties or dinners. I don't think you lose anything by making more friends and talking to more people.

But the most important thing is that you must be sincere in your conversation. And people will reciprocate.

Of course it's very easy to make conversation and just talk. It's really a matter then of absorbing the best of their advice and applying to your business.

I think veterans regardless of their business backgrounds have some valuable advice to offer.

For example when I was teaching, some of my students were older than me. Then, I was more introverted not very conversant. I guess it was out of necessity - I had to earn a living - I had to change in order to survive. So, some of my students already had much experience in the businesses aspect of fashion and really they were there to learn the finer aspects of design.

So really I think it's really important to network and learn from the experience of others and apply it to yourself. This advice is priceless, threre's no way you can buy it.

You have to be sincere as well when talking to them. I think being educated in a Chinese school such humility and sincerity came a bit more naturally to me. Then again if your sincerity isn't reciprocated just leave it be and forget it.

In the world of fashion who do you respect most?
I think it has to be Roland Chow. He was the one of the earliest designers. He was initially doing fashion but later on he concentrated on hair styling. I admire him because at least he tried to do fashion. I met him earlier in my career. And though he wasn't in the same industry as me by then, he gave me a lot of personal encouragement. He's a person who's very encouraging to young talents to dare to try their hand at the unknown.

What would you say to young people who're would like to start their own business. In one sentence.
They must be hardworking and have perseverance.

Do you think that the youth of today are very impatient.
To be successful, I think besides having the opportunities, you must know how to use them and develop them. Young people nowadays are impatient. A lot of young people come into society saying they want to set up their own business and make money now having a fixed mindset, saying I want to do this or make that my career. I think that would be overconfident and presumptuous and hence they cant' accept failure. I think in the face of failure they have to steel themselves to face the problem head-on and not act as if it's the end of the world, just after one failure. It's only after you've faced failure that you can improve.

What are your plans for the future of Allan Chai Fashion Designs?
I would like to go into the market for lifestyle products. Handbags, home décor like cushion cover. And even lampshades. And even packaging for gifts. Interior design also interests me greatly. Doing individual projects give me great satisfaction, because every project has it's peculiar challenges. I've already tried out the restaurant business and this is something I would like to try out next. I will still aim for niche markets and things that are more memorable.

Do you dabble in stock market in your spare time?
No I don't really believe in that. I'm more grounded. I think money comes through hard work.

I think many people nowadays want money to come fast.
I also feel I don't have that kind of luck. Also I don't have that interest. I'm the kind of person who would feel rather disappointed if I lost money playing the stock market. Because my money is hard-earnt, I don't see the point of taking my money to take such unnecessary gambles. I don't believe if you're diligent, you can't earn a living. If you're hardworking, I don't believe you can't earn a living.

A lot of people say my business can't survive because of the recession. I don't really believe that I think if you're willing to work hard and find other revenues. Strangely enough I seem to still get orders through introduction despite the recession. So that's why I think I'm very lucky. That's why I say it's very important to give good service to your clients and your good reputation will spread naturally. So if you're sincere and give good your clients the best quality then they'll recommend you to their friends.

Thank you very much for your time.
You're welcome.

Student Interviewer's Personal Comment

The interview with Mr Allan Chai, was conducted principally in Mandarin. Hence, this piece is not only a transcript of that interview - it is a translation as well.