Few media possess the power to influence fashion
fads more than magazines. In Taiwan, dozens of
publications vie for readership and advertisements
in a highly competitive market as rivals are quick
to react to consumer tastes and industry trends.
Seventeen years ago Taiwan's publishing industry saw a new locally produced women's fashion magazine hit the newsstands. Bella, with its glossy pictures and stylish layout, stood out in a market where women's magazines primarily consisted of illustrated stories with a few pages dedicated to suggestions on what to wear. The only other competition at the time came from the Japanese import nono. Targeted at young working women, Bella became the prototype of domestically produced fashion magazines for a long time to come. In those early years, the idea of men's fashion magazines was still a distant concept, as discussion of men's clothing was confined mainly to the shape of the collar and the arrangement of buttons on a suit. In addition, married men tended to leave fashion decisions to their wives.
The industry took a dramatic turn after the government lifted martial law in 1987, removing all barriers to access to information from around the world. This new flood of information transformed people's lifestyles in the course of a few years. Taiwan readers were quick to soak up new ideas and demand more details on how to live a better life. Publishers responded by producing a host of special-interest periodicals. Text-heavy women's magazines were soon replaced by more image-conscious publications that targeted those interested in the eternal quest for outer beauty.
The emerging market attracted not only local but also international publications. Harper's Bazaar was brought to Taiwan in 1989 and Elle in 1991 by Bentham Liu, who is now president and publisher of the local edition of Vogue magazine, an enterprise he began five years ago. "Three factors convinced me to publish local editions of internationally circulated magazines," Liu says. "First, Taiwan consumers demonstrated a purchasing power in high-end products comparable with people in other parts of the world, but they couldn't get complete information about these products fast enough. That gap had to be filled. Second, the island was enjoying double-digit economic growth and the national per capita income had increased to US$7,000 a year. Third, over sixty international fashion labels or brand names were already established here, and dozens of others were preparing to enter the market."
The prestigious international titles appeared on the scene with such vigor that it shook up the local industry. "These publications weren't just foreign names in a local market," says Yeh Chun-tsiao, vice chairman of the Magazine Business Association of Taipei. "They introduced new techniques, concepts, and marketing strategies, forcing the market to constantly read just to new situations. At one extreme, you have foreign publications telling people what to dream about. At the other, you have local magazines providing useful information about accessible products. And in the middle are many others attempting to address issues from different aspects of our lives." The greatest distinction between the two extremes is the tone, he adds. That variance is manifested in the presentation of fashion photos, features, and cover stories.
Vogue's Liu rejects the notion that any difference exists between the local and foreign content in his publication. He insists on maintaining a high level of quality in presentation, as the established reputation of a brand-name magazine does not automatically guarantee its readership. The key to success for these imported titles is being able to adapt to the local culture without damaging their image or status. "We call the process of adaptation 'decoding,' which is completely different from direct translation." Liu notes. "Based on our experience and training, we see our original sources, both the text and pictures, as signs and symbols. We take the essence of those signs, and restructure it in relation to our daily lives." But this restructuring is only part of the job, as attracting readers has become more difficult due to consumers' increasingly careful spending habits.
"In the past, customers might purchase a magazine for one particular article in that issue," says Lena Yang, vice president and editor-in-chief of the French title Marie Claire. "Now they look for more. They expect to see a macro view of both the place we're living in and the larger world beyond. More importantly, they're looking for a sense of shared experiences in our publications. So competition from domestic titles is no less threatening than that from other international magazines." To complicate matters, competition not only exists among the various fashion magazines, but also extends to different lifestyle publications. And although there is some degree of overlap, local fashion publications have been able to hold their ground against the internationally known rivals that are aiming for a more diverse customer base.
Instead of crowding the market, foreign titles have helped expand the playing field, allowing niche products to succeed. But neither domestic nor foreign magazines can afford to rest on their laurels. Just as European and American magazines were establishing and stabilizing their customer base, Japan entered the scene in the late 1990s--with both direct imports and locally reproduced titles featuring Japanese flair--and offered lower prices. "The second wave of foreign publications--from Japan--features a format.
The reshuffling within the market remains an ongoing process, and each of the twenty local titles, along with scores of imports, is trying to broaden its territory through gift giveaways and special events. The number of foreign fashion magazines available in Taiwan has been fluctuating since the Publication Law was repealed in 1999, ending the requirement that publishers register with the Government Information Office (GIO).
In addition, print runs, subscription levels, and newsstand sales are closely guarded secrets within the industry. Although most of the magazines claim a monthly circulation of between 50,000 and 60,000, those numbers have not been verified by independent audits. Another obstacle to obtaining an accurate look at fashion magazine readership is that bookstores lack a separate category for fashion titles, as they are considered either women's lifestyle magazines--which includes cooking, homemaking, and relationship publications--or men's leisure magazines. According to the GIO's 2001 Publication Yearbook (which did not supply actual sales figures), the five top-selling fashion magazines in 2000 were Beauty, Coco, Sugar, Men's Uno , and Orient Beauty, all locally produced titles.
As in the West, the men's fashion magazine market is much smaller than that of women's. According to an AC Nielsen survey conducted in 2000, more women (38.1 percent) than men (30.4 percent) regularly read magazines. Female readership increased 1 percent from 1999 while male readership decreased 1.4 percent. The US-based Esquire was introduced to Taiwan in 1987, but ceased publication in 2000. Currently, four publications in the men's magazine category constitute the market: GQ, For Him Magazine (FHM), Men's Uno , and Mr. Pulo Hi-trendy Bimonthly. GQ , a local edition of the American title introduced to Taiwan five years ago, and FHM, the Chinese edition of the English publication, are men's lifestyle magazines, while the two local periodicals specialize in fashion. Though each focuses on a different target audience, all try to lure a younger readership. Men's Uno and Mr. Pulo are even attempting to anchor their customer base with men in their twenties. GQ and FHM appeal to readers from twenty-five to thirty -five years old, while GQ aims at those even older.
"The interpretation of fashion has changed over the past decade, with a younger language and image emerging," says Justin Lin, editor-in-chief of Men's Uno. "The 1990s proved that the younger generation is actually the wider and stronger foundation bolstering what we call 'the mode.' Young, affluent people are more than willing to spend on high-end products, which has reversed previous perceptions of buying habits. For instance, Gucci in the 1980s was associated with mature upper-class or high-ranking businessmen. Although that market niche was stable, it was narrow. Today, Gucci is enjoying unprecedented popularity among young consumers, as many are clamoring for its image and product line." Lin's observations correspond with the magazine's editorial policy. Men's Uno has a youthful production look that is often mistaken as Japanese.
An important element of Men's Uno that does have its roots in Japan is street fashion, a downstream extension of a designer's line. According to Lin, the lag time between the introduction of a designer's new season fashions and popularization on a broad scale is about a year. Trendy consumers in Taiwan who cannot afford designer prices may have to wait even longer because many manufacturers take a wait-and-see attitude to the market, mass producing only the most popular items. But fashion mavens can count on magazines to give them a preview of coming trends with virtually no delay. Publishers of foreign and local titles spend a good deal of time and resources sending their editors to cover major fashion events in Europe and the United States.
Although local fashion events also get publicity, the local fashion design community is too small to supply much editorial content. "Fashion precedes any other business in globalization," notes Marie Claire's Yang. "But local designers' capacity has been restricted by the size of the Taiwan market. We hope they benefit from the publicity of our reports and joint events, but they're better off setting their sights on larger markets such as mainland China or Southeast Asia." An indication of the need for designers to expand their horizons is the decision of many clothing manufacturers to move their factories across the Taiwan Strait. Observers note that a larger stage beyond Taiwan awaits creative talents who take action. "Top designers in Paris or New York don't have their eyes fixed only on Parisians or New Yorkers," says Derek Yu, FHM's editor-in-chief. "Taiwan designers should be ambitious enough to break free from regional borders."
Some young designers have already started to free themselves from cultural barriers, Vogue's Bentham Liu points out. "They no longer vacillate between East and West," he says. "Eastern elements shouldn't be a mandatory feature in their design. Young designers are gaining more confidence in liberating themselves from cultural labels." Extensive, cumulative effort is required for the core value of a designer's brand name to be publicly recognized. Liu considers "fashion" to be the mass communication of a concept. Foreign designers have an edge in that they are supported by a powerful media network and an intensive marketing system. But that advantage depends upon maintaining a strong aesthetic foundation, he notes.
"We're nobody on the global stage unless we can develop our own aesthetic theory that's relevant to our lives and acceptable to others," Liu adds. "That theory must stem from a thorough understanding and absorption of our culture. Until then, we have little voice within the huge mechanism of globalization." The process of developing a brand name--absorbing the culture, developing a theory or concept, propagating the core value of the concept, breaking into the global market--is a long one, but Taiwan needs to start now if it is to have any chance of success. The island's fashion magazines are contributing their bit to closing the information gap and creating a cultural forum. In only a few years, fashion has been ingrained as an important consideration in readers' minds. And even though Taiwan lags behind in the creation and marketing of its own designer labels, it is keeping pace with others in the consumption of international brand-name products.
This behavior may imply a good chance for fashion magazines to survive the declining economy, but it all comes down to how these magazines can keep stride with the fickle nature of consumers. The consumption of high-end products is more rational to begin with, and is thus less affected by the highs and lows in the economy. Fashion products in the middle range face the fiercest competition as consumers move up or down between the two extremes of high and low cost, and as advertisers adjust their targets and budgets. All magazines tend to depend on advertisements as their main source of revenue, leaving circulation income to cover the cost of production. The magazine market suffered from a slight loss in advertising revenue in the first six months in 2001, and Yeh Chun-tsiao of the Magazine Business Association of Taipei estimates that losses continued to grow in the second half of the year by 10 percent for women's magazine, and 50 percent for business and finance magazines.
"The market may change into one dominated by the number-one law," Marie Claire's Lena Yang says. "When advertisers cut back budgets, they become more selective. Only the top publications are chosen. It's not yet clear which titles will remain on the top." The reputation of international titles may give them an edge over locally produced material, but more often it is the image and style of a magazine that attract advertisers. "Sponsors of foreign brand names are less price-oriented," Yeh Chun-tsiao notes. "They look for magazines that match the image of their products." FHM's Derek Yu points out that the gigantic operating network behind these titles may also give them an advantage in promotional events if the local and international teams cooperate closely. How closely these foreign names are involved in the different editions under their titles, however, is decided by the form of partnership joint venture, license, or convertible license.
A joint venture allows a local publisher to produce the overseas magazine with shared information, experience, and profit. The license status grants the right to publish the magazine with no involvement from the original title. The convertible license gives a Taiwan-based company the right to publish the title, but the international magazine retains the option of changing the status to a joint venture. Local companies prefer a joint venture, while many overseas publications seek a convertible license as it is a less risky proposition. In any case, none of these cooperative models interferes with the content of a publication, as most Taiwan editions of international magazines have proven that localization is achievable and suits an established global image.
Taiwan has shown that it is a formidable market for both domestic and overseas fashion magazines, and the battle for readership continues to drive the industry forward with new formats and innovative ideas. Some of the most recent trends in the fashion magazine industry include efforts to appeal to an ever-younger readership (under twenty), an increasing number of titles specializing in subcategories such as beauty, health, fashion, and relationships, and an increase of lifestyle features about non-celebrities in both local and foreign publications. Readers can anticipate more changes and variety in their fashion magazines in the future. Editors constantly brainstorm to bring consumers "expected surprises," as Bentham Liu puts it, and they will not stop trying.