From Tokyo to Uttara: Inside Kinokuniya's bold, high-stakes entry into Bangladesh
As the Japanese retail giant Books Kinokuniya opens its first South Asian branch in Dhaka, it brings an unmatched inventory of premium global titles and authentic manga. But in a market historically reliant on cheap Indian prints and pirated paperbacks, the success of this upscale, fixed-price model will put the actual purchasing power of the city's readers to the test
When an almost century old retail giant with a footprint spanning from Tokyo to New York chooses Dhaka as its very first destination in South Asia, it sends a clear shockwave through the local market. Understandably, the hype is palpable. For weeks, if your social media algorithm holds even a passing interest in literature, your feed has likely been populated by the polished, aesthetic reels of Books Kinokuniya Bangladesh.
Yet, as I stepped inside the pristine, not yet open for public outlet at Centrepoint in Uttara yesterday, the true scope of this adventurous establishment became clearer. On the floor, representatives were meticulously organising shelves and putting the final touches on a layout curated to mirror Kinokuniya's global flagship outlets.
Visually, it is unarguably the most stunning bookstore in Dhaka today. It boasts an expansive arsenal, housing premium global titles and high end stationery completely unavailable in the traditional local market and the aftermarket alongside familiar books — albeit at an entirely different price point.
To be honest, we do not really know whether the readership in Bangladesh is actually declining because there are no available statistics for that. We hope to figure it out ourselves as we open the bookstore and see how everyone reacts.
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Tomorrow the doors will open, and you will see endless pictures of its beautiful setting online. But beyond the visual marketing, a much sharper question demands an answer — can a premium, import reliant business model genuinely survive in a market like Dhaka and what does it really bring for the readers?
We are looking at a landscape defined by a sharp decline in youth readership, coupled with a historically low per capita spending sentiment on physical books — a commodity long associated with cheap local prints or pirated paperbacks. How does an upscale, fixed price model carve out a permanent home here?
To decipher the business strategy beneath the aesthetic veneer, I spoke with two of Kinokuniya's global representatives, whose combined tenure at the company spans well over a decade. As they supervised the prelaunch chaos, two underlying sentiments were unmistakable — a genuine optimism about contributing both culturally and economically to Bangladesh's evolving reading ecosystem, and a profound gratitude toward the United Group, whose partnership turned this ambitious, high-stakes expansion into a reality.
Speaking with the two global representatives as we strolled through the aisles, the initial conversation zeroed in on market viability. When I put forward our local premise — that Kinokuniya was stepping into a landscape defined by a dwindling, almost non-existent reading habit among young Bangladeshi adults— Hiroyoshi Kageyama, Director of Books Kinokuniya Thailand, offered an immediate pushback.
"I do not believe readership is declining here," he said. "If there is a decline in traditional reading habits, it is a global phenomenon, not one unique to Dhaka."
Koichiro Satomi, Managing Director of Kinokuniya Malaysia, offered a more pragmatic, data-driven perspective. He revealed that Kinokuniya has been studying the market since receiving an invitation from United Group two years ago, but encountered a distinct lack of empirical data.
"To be honest, we don't really know whether the readership in Bangladesh is actually declining because there are no available statistics for that," Satomi candidly admitted. "We hope to figure it out ourselves as we open the bookstore and see how everyone reacts. As of this moment, it would be inaccurate to say anything definitive because we just do not have those stats."
Historically, Bangladesh's reading culture has been heavily reliant on low-cost commodities, dominated by pirated paperbacks, unofficial prints, and cheap aftermarket editions. Introducing a premium, fixed-price model into an economy accustomed to deeply discounted books raises a fundamental question: how does Kinokuniya expect its pricing strategy to work?
"Bangladesh is a developing country with a fast-rising and highly dynamic youth population," Kageyama noted. "They are expected to have significantly more purchasing power as time goes on."
For Kinokuniya, the path to profitability relies less on competing with the local mass market and more on filling a structural void.
"Owing to the scale and sheer uniqueness of the curated collection we are bringing here — especially titles that are otherwise entirely unavailable in Bangladesh — I am certain there will be a highly positive outcome from the readers who buy these books," Kageyama added.
While Kinokuniya brings unparalleled variety, seasoned local readers know that if you navigate Dhaka's networks correctly, you can track down almost any title — even if it lacks the convenience of a modern storefront. Furthermore, established local spots like Bookworm, Baathighor, or The Reading Cafe already stock a healthy selection of standard English titles.
A personal example — a few months ago, I bought the Penguin Classics edition of The Count of Monte Cristo from Bookworm for around BDT 850. At Kinokuniya, the exact same book—also printed in Canada, not India — retails at over BDT 2,000.
When confronted with this staggering price gap, Satomi clarified that the underlying product architecture is entirely different.
"Even though they might seemingly be the same titles, they are not actually the same," Satomi explained. "Most of our books are not sourced through Indian channels or local distributors. We import them directly from original overseas hubs in the UK and the US."
This shift in the sourcing pipeline directly impacts both the pricing structure and the depth of the inventory. "If you look closely, the ISBN numbers are entirely different," Satomi added. "Bypassing the standard regional distribution networks allows us to maintain a massive, uncompromised range of collections that you simply cannot find within the Indian or local distributor markets."
The store's aggressive import-pricing features a notable exception: Bangla literature. While not the primary focus, Kinokuniya maintains exact domestic market rates for local titles rather than overpricing them — a strategic nod to the community that stands in sharp juxtaposition to their Western imports.
The true engine of their pre-launch excitement, however, lies with Gen Z and the massive display of anime and manga. This is where Satomi takes great pride. While Kinokuniya has no intention of opposing local bookstores that carry manga, they hold a distinct structural advantage.
As an authentic Japanese retailer, their direct pipeline allows them to source an unparalleled volume of official manga. A single stroll through the expansive manga aisles — teeming with pristine, vibrant cover art — is enough to anchor any enthusiast for hours.
One segment we left unexplored was the stationery department, which was still being organised — a mystery best left for readers to discover firsthand when the doors officially open on 19 June.
The initial public response has already vindicated the brand's calculated risk. Operating via a visitor registration system for its opening weekend, the bookstore saw over a couple thousand slots booked within days, completely filling its launch schedule.
Admittedly, a premium import-pricing model means Kinokuniya may not become a routine stop for the average consumer. Yet, its presence signifies something much larger. By bringing a world-class literary landmark to Uttara, this venture marks a monumental first step toward anchoring Dhaka within the global network of international-standard book retail.
