Japan: Postfashion

JAPAN POSTFASHION

BY ZACHARIA HOPKINS

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COMME DES GARCONS 2012 2

ABSTRACT Fashion greats such as Yohji Yamamoto, Rei Kawakubo and Issey Miyake inspired great change in the early 1980s in the way consumers look at their garments and in return, creating a movement branded ‘postfashion’.

During this period fashion entered unconventional terms; it was no longer what consumers had initially perceived. Design was taking a more artistic turn with many of these designers being described as ‘Avant Garde’. A great deal of the worlds highly acclaimed designers looked to these Japanese greats, inspired by the way they design their garments and in return altering the methods used when designing their garments. This document will explore the reasoning behind the success of the Japanese greats.

Through research partaken with the primary focus of this document it is evident that the needs of the Japanese consumers are rapidly evolving. Consumers are becoming more conservative with how they spend their money, favouring spending money on experiences as apposed to garments.

Although, despite a new generation of consumers emerging, there still remains a fashion-forward consumer willing to spend large amounts of money on luxury products. Exploring the needs of the new Japanese consumer will give readers a better understanding on how to market their products to the Japanese consumer.

An investigation into up-and-coming Japanese designers will give a clearer insight in the direction they’re heading in, whether it be good or bad. Exploring the hardships budding Japanese designers are facing will enable in-depth recommendations to benefit Japanese designers in the coming years.

WORDS: 6,556

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THA YO ii

ANK OU BATUKKI - Japanese Retailer Selling Up-And-Coming Labels BRUTON, JANE - Deputy Editor of the Telegraph ELIE, MICHELLE - Designer, Collector of Avant-Garde Japanese Garments LITTLEHALES, JAYNE - Lecturer and Personal Tutor MARX, DAVID - Author of Ametora: How Japan Saved American Fashion RAPSEY, ALISON - Lecturer TOPOLSKI, LUKE - Held Interviews with Consumers and Store Owners in Japan iii

TABLE OF CONTENTS

ii - ABSTRACT iii - ACKNOWLEDGMENTS vii - LIST OF FIGURES viii - GLOSSARY OF TERMS xi - INTRODUCTION xiv - METHODOLOGY

PAGE 18 - CHAPTER 1 / ANALYSING THE HISTORY OF JAPANESE FASHION DESIGNERS PAGE 22 - CHAPTER 1.1 / POST FASHION PAGE 23 - CHAPTER 1.2 / THE REVOLUTION PAGE xv - CHAPTER 1.3 / VAN BY ISHIZU (SEE APPENDICES)

PAGE 30 - CHAPTER 2 / INVESTIGATING JAPANESE CONSUMER HABITS PAGE 33 - CHAPTER 2.1 / HUNTING FOR DISCOUNT PAGE 34 - CHAPTER 2.2 / CONSUMER EXPERIENCE PAGE 38 - CHAPTER 2.3 / CONTRIBUTING FACTORS PAGE xvii - CHAPTER 2.4 / GOVERNMENT MANDATE (SEE APPENDICES) PAGE 40 - CONSUMER A PAGE 42 - CONSUMER B

PAGE 46 - CHAPTER 3 / WHY IS THE WESTERN WORLD SO DRAWN TO JAPANESE DESIGNS? PAGE 50 - CHAPTER 3.1 / UGLY PRETTY PAGE 51 - CHAPTER 3.2 / ANTI AESTHETIC PAGE xx - CHAPTER 3.3 / WABI-SABI (SEE APPENDICES)

PAGE 60 - CHAPTER 4 / WHATS NEXT FOR JAPANESE FASHION? PAGE 63 - CHAPTER 4.1 / CHANGES PAGE 63 - CHAPTER 4.2 / WATANABE PAGE xxii - CHAPTER 4.3 / UP NEXT (SEE APPENDICES)

PAGE 68 - CONCLUSION PAGE 72 - RECOMMENDATIONS PAGE 74 - REFERENCES PAGE 79 - BIBLIOGRAPHY PAGE 80 - APPENDICES

LIST OF FIGURES FIGURE 1, PAGE 2: COMME DES GARCONS 2012 FIGURE 2, PAGE 6: MICHELLE ELLIE WEARING JUNYA WATANABE FIGURE 3, PAGE 15: COMME DES GARCONS 1992 FIGURE 4, PAGE 16: YOHJI YAMAMOTO 1999 FIGURE 5, PAGE 17: ISSEY MIYAKE 1990 FIGURE 6, PAGE 22: A-POC BY ISSEY MIYAKE 1999 FIGURE 7, PAGE 31: ISETAN SHINJUKU STORE FIGURE 8, PAGE 31: ANYA HINDMARCH POP-UP STORE ISETAN SHINJUKU FIGURE 9, PAGE 32: MINIMAL JAPANESE STREET STYLE OUTFIT FIGURE 10, PAGE 33: MINIMAL JAPANESE STREET STYLE OUTFIT FIGURE 11, PAGE 36: MICHELLE ELIE WEARING COMME DES GARCONS FIGURE 12, PAGE 37: JAPANESE STREET STYLE FIGURE 13, PAGE 37: JAPANESE STREET STYLE CLOSE UP FIGURE 14, PAGE 37: ANNA DELLO RUSSO WEARING COMME DES GARCONS FIGURE 15, PAGE 37: ANNA DELLO RUSSO WEARING COMME DES GARCONS CLOSE UP FIGURE 16, PAGE 37: CONSUMER WEARING JUNYA WATANABE FIGURE 16, PAGE 37: CONSUMER WEARING JUNYA WATANABE CLOSE UP FIGURE 17, PAGE 38: STREET STYLE AT TOKYO FASHION WEEK FIGURE 18, PAGE 39: STREET STYLE AT TOKYO FASHION WEEK FIGURE 19, PAGE 44: YOHJI YAMAMOTO 2015 FIGURE 20, PAGE 45: COMME DES GARCONS 1993 FIGURE 21, PAGE 45: ISSEY MIYAKE 1995 FIGURE 22, PAGE 47: THE RED BUSTLE WOMAN BY YOHJI YAMAMOTO 1986 FIGURE 23, PAGE 50: TABI BOOT BY MAISON MARGIELA FIGURE 24, PAGE 52: COMME DES GARCONS 2016 FIGURE 25, PAGE 53: ISSEY MIYAKE 2016 FIGURE 26, PAGE 57: ADEAM 2017 FIGURE 27, PAGE 58: ADEAM 2018 FIGURE 28, PAGE 59: JUNYA WATANABE 2016 FIGURE 29, PAGE 59: JUNYA WATANABE 2016 CLOSE UP FIGURE 30, PAGE 59: JUNYA WATANABE 2013 FIGURE 31, PAGE 59: JUNYA WATANABE 2013 CLOSE UP FIGURE 32, PAGE 60: UNDERCOVER 2006 FIGURE 33, PAGE 60: UNDERCOVER 2006 FIGURE 34, PAGE 61: JUNYA WATANABE 2000 FIGURE 35, PAGE 65: JUNYA WATANABE 2017 FIGURE 36, PAGE 65: JUNYA WATANABE 2017 CLOSE UP FIGURE 37, PAGE 65: NOIR KEI NINOMIYA 2015 FIGURE 38, PAGE 65: NOIR KEI NINOMIYA 2015 CLOSE UP FIGURE 39, PAGE 83: JAPAN PREPPY STYLE FIGURE 40, PAGE 86: WABI SABI FIGURE 41, PAGE 88: ANREALAGE 2015 FIGURE 42, PAGE 88: ANREALAGE 2015 CLOSE UP FIGURE 43, PAGE 88: ANREALAGE 2016 FIGURE 44, PAGE 88: ANREALAGE 2016 CLOSE UP FIGURE 45, PAGE 90: ALEXANDER MCQUEEN ROBOTS 1999 FIGURE 46, PAGE 93: STREETSTYLE AT TOKYO FASHION WEEK 1 FIGURE 47, PAGE 93: STREETSTYLE AT TOKYO FASHION WEEK 2 FIGURE 48, PAGE 93: STREETSTYLE AT TOKYO FASHION WEEK 3 FIGURE 49, PAGE 94: STREETSTYLE AT TOKYO FASHION WEEK 4 FIGURE 50, PAGE 97: UNDERCOVER 2017 FIGURE 51, PAGE 98: COMME DES GARCONS 2015 FIGURE 52, PAGE 101: COCO CAPTAIN

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GLOSSARY OF TERMS A-POC: A PIECE OF CLOTH DC: DESIGNER CHARACTER

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MICHELLE ELIE WEARING JUNYA WATANABE 10

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Japan is the second largest consumer market when it comes to purchasing luxury goods (Arienti, 2017). A country vital to the worlds advances, using innovation and creativity to create a new way of living. This research document explores the impact Japan has had on the fashion industry, while analysing their current consumer market. Fathering many of the worlds most talented fashion designers, the Japanese introduced a new way of thinking to the world, a way that designers across the world look to for inspiration.

for the fashion industry. This document will explore what is next for Japanese fashion, while assessing the many possibilities that are presented. The needs of the consumer are changing, an investigation is needed to bring to light the new needs consumers desire. It is clear, a generation of frugal consumers is emerging; this dissertation will explore the causes and what has stemmed from this find, focusing on fashion trends while presenting studies and statistics to understand what factors impacted the change and more presently, how more modern designers have adapted their focus to suit their needs.

The primary focus of this dissertation will bring to light relevant statistics, facts and opinions on what the Japanese have done

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JAPAN IS THE WORLDS 3RD LARGEST CONSUMER MARKET

INTRODUCTION

JAPAN IS THE WORLDS 3RD LARGEST CONSUMER MARKET

Coming to light during the 1980’s and sitting among some of the World’s most influential fashion designers: Yohji Yamamoto, Issey Miyake and Rei Kawakubo inspired designers to alter their methods, introducing a new consumer whose whole focus was wearing out of the ordinary designs, which some named ‘avant-garde’, and others ‘postfashion’. This document looks at why the Western World was so accepting to Miyake, Kawakubo and Yamamoto circa 2000.

understanding on what up-and-coming designers can do when breaking out into a domestic market as well as Western markets.

AIM: Identify why Japanese designers were so successful in the early 80s, consumer habits for the Japanese consumer, and whether or not this “postfashion” movement will continue to blossom with exciting up-and-coming designers.

OBJECTIVES: To investigate which Japanese designers initiated the “postfashion” movement and how.

Through extensive consumer research, as well as questioning some industry experts who have studied the Japanese for years, this document presents reasoning behind the success of these designers and the many innovative methods they used in the design process of their garments. Despite the World wide success these designers and many other Japanese designers have had since the 80s, research shows that times are harder for Japanese designers in the modern world (Interviewee B, 2017).

Investigating the struggles Japanese designers have when marketing their products to the West will give a better

To explore consumer habits within Japan and give an understanding of is buying Japanese brands To analyse which up-and-coming Japanese designers are still pushing boundaries within fashion design.

To assess the struggles faced by Japanese designers when marketing their products to the Western World while recommending certain strategies to help boost sales within the West.

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METHOD

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DOLOGY SECONDARY

ARTICLES: A benefit of using articles as secondary research is that they offer an opinion from, in most cases, a well regarded journalist.

Articles provide an inspiring discussion, as well as backing up quotes from primary research. Articles usually come from different perspectives, so the opinions and quotes will prove unique with each article. The downside to this is sometimes said journalist may be ill-informed, resulting in attaining unreliable information.

PRIMARY

FORMAL INTERVIEWS: Formal interviews will be useful to document industry professionals responses to any questions that will support this document. It enables insight from an individual with years of knowledge on this chosen topic, ensuring a detrimental response to the investigation. A limitation within this method is acquiring contact information and in return receiving responses within the needed time frame.

SCHOLAR ARTICLES: An invaluable means of information, scholar articles are journalistic pieces written by well educated professionals.

Scholar articles may take years to finish, as they are a highly in depth piece of research, drawing light from various different topics that may be relevant to this research document. One downside to using scholar articles is due to the nature of my topic, with some questions being hard to find relative articles.

Another limitation is the date of publication; certain articles may be outdated, therefore providing an inaccurate insight.

OBSERVATION: Due to Japan being so far to where this research is taking place, researchers inside of Tokyo will be needed in order to acquire information. Researchers will be given tasks such as photographing various places in Tokyo, asking questions to store owners, consumers and designers. Luke Topolski willingly travelled around different stores within Tokyo, speaking with various different consumers, designers and members of staff.

This gave an insight into what things are really like in Japan at this current time. Language barriers were a limitation within certain interviews, however English speaking participants provided invaluable information.

BOOKS: Some of the most valuable research was obtained from various books. Using books to find out the history behind certain objectives is more convenient, as they are reliable sources.

Books can be expensive; using a library will prove incredibly beneficial, albeit some books may not be in libraries, so prices may become expensive.

INTERVIEWS: Previous interviews taken place with relative high regarded professionals by various magazines gives a personal insight into any given topic. These interviews help put context to a lot of facts within this document, as well as direct quotes to confirm or contrast any statistics and facts within this document. These interviews will provide a more heat-felt response to similar questions asked by this document. Despite their vast benefits, there remain limitations within already published interviews, being that there may be more questions needed to aid the research.

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THE HISTORY OF JAPANESE FASHION DESIGNERS 1.0 The Harajuku scene created Tokyo as an epicentre of leading fashion to sit alongside London, Paris, New York and Milan, as one of the Worlds fashion capitals.

Designer’s across the globe pay attention to what is currently happening in Tokyo (Godoy, 2008). A small one-square-mile district within the city, Harajuku’s had a pivotal role in the fashion style of Japan. ‘You walk into Harajuku-and-bam!- you are in outer space.’ (Godoy, 2008).

An immediate turn-over of trends evolved, catching the eye’s of the fashion forward, showing how subtle differences make dramatic statements (Marx, 2017). In the 1970s, the Harajuku district was known as a spot for domestic audiences to browse foreign culture and style (Godoy, 2008). Although it is different now - the influence has shifted to the other side of the spectrum.

David Marx, an expert on Japanese fashion and author of the book ‘Ametora’ suggested in an interview how the streets are now filled with non-Japanese tourists who dress like Japanese from the early 2000s. Harajuku has since become a place for foreign audiences to peruse domestic culture, in return saturating the sense of style, dampening its unique edge, and it has been that way for a while.

Contrary to this belief fashion leaders worldwide refer to Tokyo as one of the most creative and fashion forward cities, constantly creating innovative style whilst using

the buzzing city as inspiration for their collections. ‘Tokyo constantly inspires me - I admire the liberties people take in how they dress. There is nowhere else like it; the freedom of styles, the architecture of clothing. You can see it in the street as well as in its design history’.

(Simons, 2014).

As the Harajuku district started to gather more recognition, presenting in Paris no longer seemed impossible for Japanese designers (Godoy, 2008).

Beginning in the 1960s and 70s, a new fashion force began to occupy the streets. This new generation of designers began to establish themselves inside of Japan, being branded the title ‘DC’ (Designer Characters) (Godoy, 2008).

Brands such as Yohji Yamamoto and Comme Des Garçons began as DC brands, albeit these designers were the most successful at the time (Mitchell, 2005), however they were not the first to present their collections in a foreign country. This honour was claimed

by Hanae Mori, a Japanese designer who gained recognition from the Western world. She presented her work in New York in 1965 and was the first Japanese designer who showcased a collection abroad, as well as the first Japanese women to present her work in Paris.

Mori is most commonly known for her work at Kenzo and with Issey Miyake.

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COMME DES GARÇONS 1992

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YOHJI YAMAMOTO 1999

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ISSEY MIYAKE 1990 21

Fashion was not the only revolutionary cultural shift emerging from Japan in the 80s, Japan itself seemed to embody the future (Steele, 2010). In the 1980s Japan’s economy hit a sudden growth and thus consumers started spending lavishly on luxury goods (Synodinos, 2001). Academic analyst Ezra Vogel, in Japan as Number one: Lessons for America (1979) presented ways in which the U.S could learn from the Japanese economic phenomenon. This marked a time where consumers were finally willing to spend money on designer garments, creating a gap in the market for Japanese designers to create using luxurious materials in their design process.

Barbara Vinken argued in her influential book Fashion Zeitgeist (2005) that the appearance of Japanese fashion in Paris in the 1980s marked the end of one era and the beginning of another with what she claimed was the fashion of a hundred years, stretching-from House of Worth to Saint Laurent, replaced by a new movement that she named “postfashion”. The introduction of designers Rei Kawakubo and Yohji Yamamoto sent waves through the fashion industry, completely transforming the way designers look at their garments. The fashion that has swept in from the East represents a fundamentally different attitude towards how clothes should look from those long established in the west. They aim to conceal, not reveal the body. They do not try to seduce through colour or texture. They cannot be described in conventional terms because their shape is fluid, just as their proportions are oversized (Morris, 1982). Designers all over the world started looking at Japan for inspiration, with one of the world’s most iconic designers Martin Margiela, of Martin Maison Margiela, regularly citing Japan as one of his key influences (Becho, 2016). This new approach to fashion created by the Japanese is the key contributing factor behind the term “postfashion”.

Miyake, Kawakubo and Yamamoto among others, opened the eyes of Paris and New York recognising Tokyo and Asia as sites of innovation and creativity within the fashion industry, and not merely producers of designs originating from the West (Kondo, 2010). These designers have been credited for constructing

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POSTFASHION 1.1

The Japanese fashion revolution of the 1980s dramatically shaped the world of fashion. It marked the uprising of designers such as Yohji Yamamoto, Rei Kawakubo and Issey Miyake to fundamentally change the way we look at and interpret fashion (Steele, 2010). These designers introduced a radical new concept of fashion to the catwalks of Paris by infusing new innovative technologies into traditional design features from Japanese clothing culture.

This was pivotal in forging a new relationship between body and clothes - a new attitude toward the beauty of imperfection – establishing avant-garde fashion as “art” (Steele, 2010).

profound aesthetic changes which have since permeated all levels of fashion deconstructing garments with the over usage of the colour black which were two key factors in the success of Japanese fashion (Becho, 2016). As a collective, these designers have remained market leaders in the international fashion scene for the past 30 years. During the initial years they began to generate more publicity around their collections; journalists inaccurately assumed that they were producing clothing which Japanese consumers wore, when in reality even the Japanese found the loose, dark, and seemingly tattered garments as confusing as the Western world (Mears, 2008). The Japanese were creating garments so extraordinary, journalists refused to believe the Western World would adopt them, wrongly believing the target audience was the Japanese consumer (Mears, 2008).

THE REVOLUTION 1.2

Regularly referred to as the ‘Japanese Designers’. A label that long frustrated the likes of Kawakubo, Yamamoto and Miyake. Yamamoto claimed It was upsetting as both him and Kawakubo thought they were doing something so international, yet the international press labeled them as Japanese. A label these designers were given on the basis of their nationality alone, as apposed to their individual design achievement, which was a contrast to the treatment of Western designers. ‘The Japanese’ were branded ‘avant-garde’ and ‘experimental’, when the idiosyncratic features of their work tended to be traced back to origins in Japanese culture. For example a Zen minimalist aesthetic or regional costume, or to some overarching postmodernity (Kondo, 2010). In an interview with Darinne Konda, 2010, writer and publisher James Nelson pointed out the frequent misspellings of the names of various Japanese designers in early articles published by Vogue and a variety of British fashion magazines.

He passionately exclaimed that such mistakes would never be tolerated with European or American designers. This highlighted a lack of respect being shown from the Western world.

Miyake was one of the first globally recognised designers to create a new paradigm of fashion design, merging technology with fashion. He used advanced synthetics that were being produced in Japan, such as permanently pleated polyester, combined with innovative design techniques which enabled him to create some of the world’s most ingenious garments. Miyake was hailed as one of the most optimistic and innovative designers of his generation, his never-seenbefore pleated designs that morph from flat pieces of cloth into three-dimensional forms changed the way we previously perceived fashion in the 1980s (Kondo, 2010), from tight fitting dresses that accentuate ones figure, to loose figure garments that romanticise the body.

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SEE APPENDICES A FOR CASE STUDY ON VAN BY ISHIZU 1.3

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SEE APPENDICES A FOR CASE STUDY ON VAN BY ISHIZU 1.3

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A-POC BY ISSEY MIYAKE, 1999

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AN INVESTIGATION INTO THE ASIAN MARKET AND THE JAPANESE CONSUMER 2.0

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In recent decades, Eastern Asia has been host to many of the world’s strongest markets. China makes up for $11 trillion, or 14.8% of the world economy, the second largest in the world.

Japan comes in at third place with an economy of $4.4 trillion, representing almost 6% of the world economy (Gray, 2017).

Despite China trailing the US by $7 trillion, they’re catching up and have overtaken India as the fastest growing economy (Gray, 2017). According to the IMF (2016), China’s economy grew by 6.7% in 2016, compared with America’s 1.6%. Despite Japan’s huge economy, the consumer habits have been changing drastically (Huysveld, 2015). Japanese consumers have started flocking to discount and online retailers as well as home entertainment to save money as opposed to going out. This is all due to the emergence of a less materialistic younger generation (Huysveld, 2015). Japanese consumers have previously been willing to pay high prices for high quality garments, similar to their Chinese counterparts, this sparked the emergence of a mass luxury market where owning exclusive products came across as more essential rather than aspirational (Huysveld, 2015). Despite these economic growths, Japanese consumers are rapidly changing in several ways.

Studies by the McKinsley Company (2010), reaffirmed by Phillippe J.M Huysveld (2015), show that a new generation of Japanese consumers are moderating how they spend their money and have begun reducing costs as well as questioning their tendency to pay for convenience. A survey showed that 37% have cut overall spending, and 53% said they are more likely to “spend time to save money” rather than “spend money to save time” (Huysveld, 2015). Through these findings it is clear that Japanese consumers are becoming more frugal, but what is happening to companies in the wake of this? Luxury-goods companies are watching a decade’s worth of growth disappear, with their year-on-year sales declines of 10% to 30% (Huysveld, 2015). Since this change, private labels have been booming.

Previous experiences from various North American and Western European markets suggests that once consumers change to private-label brands, they rarely change back (Huysveld, 2015).

Seven & I, Japan’s largest retailer, expects private-label sales to grow by around 60% (Huysveld, 2015), showing the expansive differences between the past and present consumer.

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HUNTING FOR DISCOUNT 2.1

Consumers are also changing the way in which they purchase their products. Online shopping has never been popular in Japan (Salsberg, 2010). Previously consumers favoured going to department stores and stand-alone concept stores as opposed to online. However this is rapidly changing, more than 50% of consumers are now buying online than they were 12 months ago (Huysveld, 2015). In a 2009 survey undertaken by McKinsley company, consumers stated that the reasons they converted to online shopping was because of “expensive products”, “annoying staff” and an “inability to shop at their own pace”. It’s clear to see through this research that the needs of the Japanese consumer have changed. Consumers are looking for discounted products as opposed to luxury items, as well as the ability to take their time and really think about their decisions when it comes to purchasing.

When interviewing young consumers in Harajuku and Shibuya, the results amongst some of Japan’s most fashion forward consumers was conflicting. It was discovered that there is still a broad majority of young Japanese consumers that pride themselves in the brands they wear. A staff member from a store by Nigo stated “Because for me it is just buying those brands, hype brands give you a status of being wealthy. How you represent yourself and spending more money on clothes means it kind of tells you that you have more money.” (See appendices E for full interview) He also claimed that the reason young consumers are still spending big money on designer brands is because they pride themselves in wearing what is on-topic at any given point. He suggested that whatever people in the States are wearing will be the current trend. Teens look to celebrities such as Kanye West, who to them orchestrates the majority of trends within street style. He also stated that the majority of people buying the Japanese designer brands are foreigners, claiming that Japanese youths do not tend to buy Japanese clothes.

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CONSUMER EXPERIENCES 2.2

Being health-and environment conscious is also a rising concern amongst Japanese consumers (Huysveld, 2015). Research shows that 51% of Japanese consumers are more focused on the environment than they were a year ago on only 7% claimed not to be concerned.

The research conducted on the survey also found that 84% of consumers prefer to purchase environmentally friendly everyday goods. In an interview conducted with a staff member of Batukki (2017) (see appendices F for full interview), a retailing store that specialises in selling up-and-coming Japanese womenswear designers, she stated that a reoccurring theme with the new generation of Japanese designers is that they are oblivious to what happens with the animals and workers that are used in the making of their products.

When the owner of Batukki asked how one designer treated their animals used for fur, he simply stated ‘I don’t know, I don’t care’. The conditions staff, as well as animals, undergo to create their products is more often than not, very poor (Interviewee B, 2017), with a wide majority getting their products made in China, a country notoriously known for their poor working conditions (Interviewee B, 2017). Studies undertaken by War on Want (2015), a charity that specialises in fighting global poverty showed that the average monthly salary for a migrant worker in China equates to only £150 a month, including overtime, which does not cover basic needs for workers and their families. As of now there are 150 million migrant workers in China, 6.5 million of which work in the clothing industry (WarOnWant, 2015).

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51% MORE FOCUSED ON THE ENVIRONMENT THAN THEY WERE LAST YEAR

Consumers are now favouring venues that offer more than just shopping, such as eating, fine dining and entertainment (Salsberg, 2010). In a research document under-taken by Phillippe J.M Huysveld (2015), owning the latest in technology is considered fashionable.

High-end department stores are capitalising off this. Department stores such as Isetan Shinjuku and Mitsukoshi Ginza have an extensive food hall, offering consumers the chance to delve into traditional, fine dining Japanese restaurants while they shop, as well as a well-equipped technology department.

ISETAN SHINJUKU STORE 7

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ANYA HINDMARCH POP-UP STORE, ISETAN SHINJUKU

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A MINIMAL OUTFIT STYLED BY A JAPANESE CONSUMER

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A MINIMAL OUTFIT STYLED BY A JAPANESE CONSUMER

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2.3 CONTRBUTING FACTORS

A wide majority of the Japanese youth are distasteful towards corporate life and material possessions, as well as becoming more pessimistic and more likely to be unemployed than their elders (Huysveld, 2015). Consumers in and around their 20s are more willing to spend money on the latest in technology as opposed to other luxury goods (Huysveld, 2015).

Despite this research, through interviewing consumers in Japan it was discovered that these values are not held by all of Japan’s young consumers.

There is still a big audience of consumers purchasing the latest trends. In an interview with David Marx (2017) states “I think most brands ignore “frugal consumers” because they are targeted towards fashion-obsessed people, of whom there are still a lot in Japan! Only UNIQLO (and to a lesser extent the select shops like Beams) have changed styles to match frugal consumers.” (see appendices G for full interview). Through this research it is clear to see that there are two sides to the story.

The majority of the population are changing the ways in which they purchase products, but there remains a rather small audience that still find purchasing designer garments essential to their everyday lives. There are also a variety of smaller actions the government has put in place that are inspiring change.

In March 2009, Japan’s government reduced the maximum freeway toll on weekends to 1,000 yen (£6.74), a huge discount that encourages trips outside Tokyo to larger discounters and retails such as Costco and Ikea (Huysveld, 2015). See appendices C for 2.4.

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CSONUMERS HAVE STARTED FLOCKING TO DISCOUNT RETAILERS

There are various contributing factors to the rise of a new Japanese consumer, both minuscule and large. The economic downturn is one of the largest contributors to this new trend. Japan’s economy has been somewhat weak for the past two decades (Huysveld, 2015). It is because of this that we have seen the emergence of a new generation with a vastly different attitude to their predecessors.

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CONSUMER A

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AGE: 25-50

INTERESTS: Fashion, Music, Photography, Designing, Writing

INTERVIEWEE A

“MOSTLY FORIEGNERS AND MUSICIANS BUY JAPANESE DESIGNS”

OCCUPATION: Journalist, Editor, Musician, Designer, Creative

ACORN CLASSIFICATION: Thriving/Expanding (A/B) 14

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CONSUMER B 18

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AGE: 16-25 OCCUPATION: Journalist, musician, independent designer, creative, unemployed, part-time worker INTERESTS: Fashion, music, photography, designing, spending time with friends, travelling, exploring, fitness ACORN CLASSIFICATION: Moderate means/Hard pressed (D/E)

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3.0 WHY ARE JAPANESE DESIGNERS SO APPEALING TO WESTERN CONSUMERS? 46

The West is home to some of the world’s most appealing fashion capitals. Designers all across the globe look to the cities such as Paris, New York, Milan & London as the home of designer fashion. It is in these capitals that a vast majority of the world’s most fashion forward consumers reside, where buying new designer garments seasonally to keep up to date with current trends is the social norm (Huysveld, 2015). Since the 80s and early 00s the trend was Japanese fashion and their designers (Steele, 2010). Designers such as Yamamoto and Miyake came to the forefront of Western fashion, offering garments unique to any of those from their Western counterparts.

Japanese designers took inspiration from the West, but in return creating Western garments with a Japanese twist (Bain, 2015). Polly Mellen (1981), the editor of American Vogue at the time Yamamoto & Kawakubo debuted their AW collections in Paris in 1981, stated that they were modern and free. They displayed to her something that was new and unique, making the first day of fashion week breath-taking.

Japanese artisans are synonymous with handcrafted, exquisite detailing in their fashion and general lifestyle (Eng, 2013). Such aspects could be found in their work. The Japanese have consistently found innovative materials that differ from the materials designers in the West would be using, for example luxury streetwear brand Visvim have used materials found from deer, elk and even antelope to find a unique, rugged texture. Cattle leather may seem regular, but aside from the sourcing of leathers, the treatment of a raw material differs in Japan from the rest of the world. Japanese designers utilise exotic oils and chemicals to help set the materials apart from what consumers may initially perceive, creating an all-round softer and more durable leather (Eng, 2013).

The fabrics used are often in-house designs, especially commissioned, artisanally manufactured textiles, or innovative synthetics where modern technology was used to create materials seldom used by other designers (Kondo, 2010).

Head of the costume Institute at New York’s Metropolitan Museum of Art, Harold Koda named a second distinctive feature “terse expression;” a respect for the integrity of the material and hostility with cutting into the cloth. Koda linked this aesthetic to the use of cloth in kimono, where almost the entire bolt is used, with minimum cutting and minimum waste. Contrary to Western techniques, where pattern pieces are laid out on fabric and then cut, this results in a considerable amount of waste. The difference in techniques is not visible on the body, but at the level of construction the differences are stunning (Kondo, 2010). It is clear that Japan’s acclaimed designers showed the world new ways in which to interact with fashion during the design process, creating unique garments the West were blown away by.

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YOHJI YAMAMOTO, 2015

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COMME DES GARCONS, 1993

ISSEY MIYAKE, 1995

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UGLY PRETTY 3.1 To a Western demographic, the garments created by these designers embodied foreign notions of what is classified as clothing and how clothing relates to human bodies (Kondo, 2010). In an interview held with a staff member at Batukki, a retailing store in London that specialises in selling up-and-coming Japanese womenswear (see appendices F for full interview), she claimed that the success designers from Japan had in the West resonated in the fact no one had ever seen garments like these before.

Kawakubo and Yamamoto both displayed their first collections in 1981 A/W seasons, and continued to dominate the fashion world thereafter. Consumers were blown away by the “ugly pretty” aesthetic after becoming bored of the “same old pretty dresses” which is what she called them.

Designing her final collection in Montreal, her main inspiration was Japanese fashion - she wanted people to see her dresses and think “what the fuck is that? I love it!”, similar to the reaction Yamamoto received after his first collection. His designs were given the title “crow look” and “Hiroshima chic” by the press horrified at the oversized black garments, contrary to the fashion of the time.

Fashion critics had christened the Comme des Garçons bump dress the ugliest dress of the year (Sykes, 1998). Despite the negative press these designers faced, not long after they had to take Yamamoto’s approach to fashion seriously; fashion folklore attests that such an inconceivable amount of buyers raced to his office to see the collection - and quickly place orders - that the buildings elevator broke (Gonzales, 2014). It is clear that these designs were so unusual and unconventional that Western consumers couldn’t help themselves, even though at first they may have been sceptical.

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ANTI AESTHETIC 3.2 Many of the world’s most critically acclaimed fashion designers use Japan as a constant source of inspiration (Becho, 2016). The most iconic piece of clothing to come from the Maison Martin Margiela label (Becho, 2016), the tabi boot which the label produced in various different variations are inspired by Japanese tabi. Tabi are ankle length socks shaped with a separation between the big toe and other toes. These socks are to be worn with traditional Japanese sandals.

A new beauty was created, challenging the preexisting aesthetic conventions still based on the Western conception of symmetry, perfection and balance (Kondo, 2010). This ‘new’ aesthetic, given the name “anti-aesthetic” had cemented its roots in the secular legacy of Japanese culture (Becho, 2016). This created a movement inspiring deconstruction, a trend that was created from finding beauty in unconventional patterns and unusual shapes (Becho, 2016).

This new way of thinking translates into radical attires: garments reconstructed through the deconstruction of orthodox patterns; monochromatic, focusing on ascetic and mystifying black; abnormal volumes, as well as over-sized proportions; asymmetry; overlapping; distressing; seams and hems on the outside of the garment as apposed to the inside, undertaken during the design process; unfinished garments; knots and bows as fastenings as apposed to the conventional fastenings that keep the garments in place; faded gender norms, giving the chance for men to wear women’s clothing and vice-versa. See appendices C for 3.3

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THE TABI BOOT

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ISSEY MIYAKE, 2016

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4.0 WHATS NEXT FOR JAPANESE FASHION? In an interview with David Marx (see appendices G for full interview), he spoke about how street fashion in Japan is becoming harder and harder to understand, with the streets full of non-Japanese tourists who dress like Japanese people from the early 2000s, it is hard to see which style really originates from Japan and which does not. Nowadays the amount of foreign tourists in Harajuku compared to Japanese youths is staggering, with tourism taking over some of Japan’s most eccentric neighbourhoods.

Japanese fashion is starting to change. For the most part it is becoming very subtle and somewhat conservative, but their trend-awareness is still second to none. Since the arrival of leading Japanese fashion magazines such as POPEYE and JJ in 1976 and 1975 trend awareness changed drastically.

Even to this date, said magazines are excellent at finding up-to-date trends from New York, London and Paris to then broadcast to the Japanese consumers who are excellent at taking instruction on what to wear.

Looking at up and coming Japanese designers such as Columbia graduate, Hanako Maeda who launched her own label Adeam in 2011, and Central Saint Martins graduate

Yasutoshi Ezumi, a designer that founded his own label in 2010, it is easy to see the truth in David Marx’s quote “Japanese fashion has become very subtle and somewhat conservative”.

There is a new generation of Japanese designers offering simple garments made to perfection. Ruth Chapman, CEO of Matches Fashion (2015) stated “For the past few seasons we have felt that there has been a Japanese sensibility that we have seen fashion reverting to - a move away from a fitted, body-con silhouette to looser, more interesting shapes and proportions that feel intelligent, and a more interesting way of dressing - one that is about the personality of the wearer.”

Since Japanese fashion hit the forefront in the 80s, loose fitting garments were essential to the collections, contrasting Western designers’ work where dresses and garments accentuated consumers figures, this quote from Ruth Chapman explains how fashion is now more inspired by Japanese designers than anything else, stating that loose fitting garments are becoming more commonplace than ever before.

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ADEAM, 2017

ADEAM, 2018

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SEE APPENDICES D FOR FURTHER INFORMATION

4.1 CHANGES

Despite the needs of the changing Japanese consumer, David Marx claims that most high-end brands ignore the needs of this new consumer and continue to target their products towards the ‘fashion obsessed’, which remain in vast numbers. He claims that only Uniqlo, and to a lesser extend the select shops such as Beams have changed styles to match frugal consumers (Marx, 2017). It is clear that the needs of the majority have changed, albeit a strong, fashion-forward consumer that is willing to spend lavishly on products will prevail through changing times.

The new generation of Japanese designers all pride themselves on their individuality, each having their own unique selling point.

There are not many Japanese designers following the paths created by the likes of Kawakubo and Miyake with regards to avant-garde, i.e. conceptual fashion, besides highly acclaimed fashion designer Junya Watanabe, primary apprentice for Comme Des Garçons, who eventually started his own label in 1992. He is known for his artful tailoring, as well as his extraordinary use of plaids (Menkes, 2017).

4.2 WATANABE Watanabe is a designer who has studied and worked with Japanese designers for most of his career, but his influences come from elsewhere. His designs have always been heavily influenced by UK culture, most notably, punk rock (Menkes, 2017). Watanabe created his debut collection from pieces he found at the local flea markets in London and to this date is using the same idea of stripping away sofas and cutting up curtains and tweed caps to implement in his garments.

For the majority of Japanese designers, they are all unique in their own right, taking inspiration from various sources, but with strong roots resonating from Japan. It is clear that there are still many Japanese designers pushing boundaries within fashion, whether or not they can market their products to the Western World is up to them.

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CONCLUSION The aim of this dissertation is to give a clear understanding on the history of Japanese designers and what led to their success in the 80s, contrasting this success with modern Japanese consumption habits.

Beginning in the 60s and 70s, a young generation emerged in Harajuku with a keen eye for style, merging with fashion magazines such as JJ and POPEYE which promoting various Western trends to a Japanese audience, but it wasn’t until the 80s when Japan saw a vast economic growth, forging a domestic audience willing to spend big money on luxury garments (Synodinos, 2001).

It is obvious why Japanese fashion took a sudden growth around the 80s - an economic boom as well as Japans’ ‘famous 3’; Rei Kawakubo, Yohji Yamamoto and Issey Miyake who all had their debut collections in Paris during the early 80s. They surprised the fashion world with their unique designs and innovative pattern cutting techniques.

Barbara Vinken (2005) argued that the emergence of Japanese fashion in the 80s marked the end of one era and the beginning of another.

Evidence discovered on consumer habits suggested a decline in expenditure for the majority, stating that 37% of Japanese consumers had cut overall spending with luxury-goods companies watching a decade long growth disappear, with year-on-year sales declines of 10 to 30%. Luxury retailers such as Isetan Shinjuku and Mitsubishi Ginza have implemented an extensive food hall and technology department in their stores to cater to a generation more willing to spend money on services than products, and on technology than other goods. The research suggested the cause of this being attributed to the emergence of a less materialistic younger generation.

Despite these findings, David Marx, author of critically acclaimed book ‘Ametora: How the Japanese saved American Fashion’, stated in an interview for this document (see appendices G for full interview) how many designer brands and boutiques ignore the needs of the new, more frugal consumer, and how there still remains a small percentage of fashion forward consumers unfazed by prices and willing to purchase designer garments at the

higher end pricing.

Despite a vast audience of domestic fashion-forward consumers, in interviews conducted with Japanese consumers in the heart of Shibuya and Harajuku (see appendices E and H) for full interview, two of Japan’s most eclectic neighbourhoods, the results showed how consumers favoured Western brands over Japanese brands. Consumers stated the needs to be up to date with the trends created by Western celebrities such as Kanye West amongst many others. When talking with a member of staff from ‘Store by Nigo’, he stated that ‘foreigners’ seem to be buying more Japanese clothing than the people in Japan. He also went on to state that he doesn’t buy Japanese designed garments and believes that to be a general trend. In a contrasting document composed by S. Lau (2015), she claimed that Tokyo is becoming a great destination for up-and-coming Japanese designers to hone their skills.

In an interview with a member of staff from a retailer based in Europe selling talented young Japanese designer brands (see appendices F for full interview), she claimed that designers are now finding it very hard to venture out of Japan, due to factors such as unethical origins of their garments, as well as incompatible sizing options due to the petit nature of the Japanese consumer, making it harder for Western consumers to fit into their products designed and sized for a Japanese audience.

Despite these findings, there is still a bright future ahead for Japanese fashion, with designers such as Noir Key Ninomiya, Kunihiko Morinaga and of course the highly acclaimed Junya Watanabe all pushing boundaries within the fashion industry. These designers are creating distinguished garments for their consumers, using innovative methods and materials to create something unlike anything created before.

Overall, the future is bright for Japanese fashion. Designers need to reconsider how they obtain their materials and how they produce them before marketing them to a Western world, as well as a sizing guide to fit Western consumers.

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RECOMMENDATIONS Through this research there were many reoccurring themes attributing to the complexities Japanese designers face when marketing their products to the Western world.

Designers need another means of sizing when it comes to Western consumers. Due to the petit nature of the majority of Japanese consumers, it creates difficulties for Western consumers to fit into garments made for the native Japanese. As stated by Interviewee B at Batukki, Japanese designers’ largest sizes often translate to a small or a medium in the Western World.

Producing ethically correct garments is vital to the success of many Western brands. Stella McCartney, a British born designer attributes some of her success through her focus on ethical and sustainable manufacturing processes and the source of the materials she uses. With various protests happening all around European countries as well as in America, it is clear that Japanese designers need to ensure their garments are manufactured in the correct way, and their materials come from ethical origins as this is a new trend of what the consumer is now looking for.

The Japanese are known for their innovative patterns and unorthodox designs within the fashion industry. Consumers are now looking for external experiences that envelop all senses, how can these designers translate their skills within food, music, design and architecture to create an immersing conceptual store which encapsulates everything their brand stands for? If this was understood and explored it opens up a huge space to create something completely new, and attract a variety of new consumers who will want to simply experience something unlike anything before.

Popular within the Western world, many designers offer a diffusion line where they sell cheaper garments with a minimal design approach. With a new, thrifty consumer emerging in Japan, this creates access to high end designer fashion to this portion of the market; high quality garments at a lower price point to meet consumers needs.

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Marx, D. (2015). Why Japanese designers do Americana better than Americans do. [online] Available at: https:// qz.com/565103/why-japanese-designers-do-americana-better-than-americans-do/ [Accessed 29 Nov. 2017].

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1.

THIRD CHAPTER

1.

Huysveld, P. (2015). [online] The Japanese Consumer Mindset. Available at: https://www.linkedin.com/pulse/japanese-consumer-mindset-philippe-huysveld-ir-mba/ [Accessed 29 Nov. 2017].

2.

Steele, V. (2010). Japan Fashion Now. Yale University Press, pp.1

3.

Bain, M. (2015). Why Japanese designers do Americana better than Americans do. [online] Available at: https:// qz.com/565103/why-japanese-designers-do-americana-better-than-americans-do/ [Accessed 29 Nov. 2017]

4.

Mellen, P. (2016). How radical Japanese fashion inspired Belgium’s avant garde. [online] Available at: http://www. dazeddigital.com/fashion/article/30853/1/how-radical-japanese-fashion-inspired-belgiums-avant-garde [Accessed 29 Nov. 2017].

5.

Eng, E. (2013). Why is Japanese-Made Fashion so Expensive?. [online] Available at: https://hypebeast. com/2013/4/why-is-japanese-made-fashion-so-expensive [Accessed 29 Nov. 2017].

6.

Eng, E. (2013). Why is Japanese-Made Fashion so Expensive?. [online] Available at: https://hypebeast. com/2013/4/why-is-japanese-made-fashion-so-expensive [Accessed 29 Nov. 2017].

7.

Kondo, D. (2010). [online] Through Western Eyes: Japanese Fashion in the 1980s. Available at: https://www. pearltrees.com/s/file/preview/164372269/D57_Kondo_e_Through_Western_Eyes.pdf [Accessed 29 Nov. 2017].

8.

Kondo, D. (2010). [online] Through Western Eyes: Japanese Fashion in the 1980s. Available at: https://www. pearltrees.com/s/file/preview/164372269/D57_Kondo_e_Through_Western_Eyes.pdf [Accessed 29 Nov. 2017].

9.

Kondo, D. (2010). [online] Through Western Eyes: Japanese Fashion in the 1980s. Available at: https://www. pearltrees.com/s/file/preview/164372269/D57_Kondo_e_Through_Western_Eyes.pdf [Accessed 29 Nov. 2017].

10.

Kondo, D. (2010). [online] Through Western Eyes: Japanese Fashion in the 1980s. Available at: https://www. pearltrees.com/s/file/preview/164372269/D57_Kondo_e_Through_Western_Eyes.pdf [Accessed 29 Nov. 2017].

11.

Kondo, D. (2010). [online] Through Western Eyes: Japanese Fashion in the 1980s. Available at: https://www. pearltrees.com/s/file/preview/164372269/D57_Kondo_e_Through_Western_Eyes.pdf [Accessed 29 Nov. 2017].

12.

Kawamura, Y. (2015). The Japanese Revolution in Paris Fashion. p.204.Gonzales, R. (2014). Y still has it: The masterful Yohji Yamamoto shows no signs of taking a back seat in his fashion empire. [online] Available at: http://www.independent. co.uk/life-style/fashion/features/the-y-still-has-it-the-masterful-japanese-designer-yohji-yamamoto-shows-no-signs-of-taking-aback-9093949.html [Accessed 29 Nov. 2017].

13.

Becho, A. (2016). How radical Japanese fashion inspired Belgium’s avant garde. [online] Available at: http://www. dazeddigital.com/fashion/article/30853/1/how-radical-japanese-fashion-inspired-belgiums-avant-garde [Accessed 29 Nov. 2017].

14.

Becho, A. (2016). How radical Japanese fashion inspired Belgium’s avant garde. [online] Available at: http://www. dazeddigital.com/fashion/article/30853/1/how-radical-japanese-fashion-inspired-belgiums-avant-garde [Accessed 29 Nov. 2017].

15.

Becho, A. (2016). How radical Japanese fashion inspired Belgium’s avant garde. [online] Available at: http://www. dazeddigital.com/fashion/article/30853/1/how-radical-japanese-fashion-inspired-belgiums-avant-garde [Accessed 29 Nov. 2017].

16.

Becho, A. (2016). How radical Japanese fashion inspired Belgium’s avant garde. [online] Available at: http://www. dazeddigital.com/fashion/article/30853/1/how-radical-japanese-fashion-inspired-belgiums-avant-garde [Accessed 29 Nov. 2017].

17.

Becho, A. (2016). How radical Japanese fashion inspired Belgium’s avant garde. [online] Available at: http://www. dazeddigital.com/fashion/article/30853/1/how-radical-japanese-fashion-inspired-belgiums-avant-garde [Accessed 29 Nov. 2017].

FOURTH CHAPTER

1.

Chapman, R. (2015). The new wave of Japanese designers to invest in now. [online] Available at: http://fashion. telegraph.co.uk/news-features/TMG11434365/The-new-wave-of-Japanese-designers-to-invest-in-now.html [Accessed 29 Nov. 2017].

2.

Lau, S. (2015). The new wave of Japanese designers to invest in now. [online] Available at: http://fashion.telegraph.co.uk/news-features/TMG11434365/The-new-wave-of-Japanese-designers-to-invest-in-now.html [Accessed 29 Nov. 2017].

3.

Lau, S. (2015). The new wave of Japanese designers to invest in now. [online] Available at: http://fashion.telegraph.co.uk/news-features/TMG11434365/The-new-wave-of-Japanese-designers-to-invest-in-now.html [Accessed 29 Nov. 2017].

4.

Lau, S. (2015). The new wave of Japanese designers to invest in now. [online] Available at: http://fashion.telegraph.co.uk/news-features/TMG11434365/The-new-wave-of-Japanese-designers-to-invest-in-now.html [Accessed 29 Nov. 2017].

5.

Lau, S. (2015). The new wave of Japanese designers to invest in now. [online] Available at: http://fashion.telegraph.co.uk/news-features/TMG11434365/The-new-wave-of-Japanese-designers-to-invest-in-now.html [Accessed 29 Nov. 2017].

6.

Lau, S. (2015). The new wave of Japanese designers to invest in now. [online] Available at: http://fashion.telegraph.co.uk/news-features/TMG11434365/The-new-wave-of-Japanese-designers-to-invest-in-now.html [Accessed 29 Nov. 2017].

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TEXT REFERENCES

1.

Lau, S. (2015). The new wave of Japanese designers to invest in now. [online] Available at: http://fashion.telegraph.co.uk/news-features/TMG11434365/The-new-wave-of-Japanese-designers-to-invest-in-now.html [Accessed 29 Nov. 2017].

2.

Lau, S. (2015). The new wave of Japanese designers to invest in now. [online] Available at: http://fashion.telegraph.co.uk/news-features/TMG11434365/The-new-wave-of-Japanese-designers-to-invest-in-now.html [Accessed 29 Nov. 2017].

3.

Menkes, S. (2017). #SuzyPFW: Junya Watanabe – Still In Awe Of Punk. [online] Available at: http://www.vogue. co.uk/article/suzypfw-junya-watanabe-still-in-awe-of-punk [Accessed 29 Nov. 2017].

4.

Menkes, S. (2017). #SuzyPFW: Junya Watanabe – Still In Awe Of Punk. [online] Available at: http://www.vogue. co.uk/article/suzypfw-junya-watanabe-still-in-awe-of-punk [Accessed 29 Nov. 2017].

CONCLUSION

1.

SYNODINOS, N. (2001). Understanding Japanese consumers: Some important underlying factors. [online] Available at: http://onlinelibrary.wiley.com/store/10.1111/1468-5884.00181/asset/1468-5884.00181.pdf;jsessionid=4F4E0022DF39C932ACEF06F80421A7ED.f01t02?v=1&t=jakyshsw&s=f1a1e7647d38294fd6cf3da2deb08dd2219eb9b0&systemMessage=Wiley+Online+Library+usage+report+download+page+will+be+unavailable+on+Friday+24th+November+2017+at+21%3A00+EST+%2F+02.00+GMT+%2F+10%3A00+SGT+%28Saturday+25th+Nov+for+SGT+ [Accessed 29 Nov. 2017].

2.

Lau, S. (2015). The new wave of Japanese designers to invest in now. [online] Available at: http://fashion.telegraph.co.uk/news-features/TMG11434365/The-new-wave-of-Japanese-designers-to-invest-in-now.html [Accessed 29 Nov. 2017].

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Kitamura, M. (2016). Issey Miyake. Taschen.

Keet, P. (2016). Tokyo Fashion City: A Guide to Tokyo’s Trendiest Fashion Districts. Tuttle.

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Baudot, F. (1997). Fashion Memoir: Yohji Yamamoto.

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APPENDICES A

The American style takeover of Japan started in 1970, but the movement was being well documented by one individual way before that - Ishizu, the owner of a small menswear clothing brand. He went to visit Princeton University in USA in 1950 whilst searching for a new style to bring to the Japanese youth. Impressed by the students’ style, he decided to use it as his inspiration for a collection he was working on that consisted of high quality garments at affordable prices. In 1959, Van made the first step by producing an ‘Ivy model’ suit- a detailed copy of Brooks Brothers’ classic Number One Sack Suit with a loose, artless jacket (Marx, 2015). Not long after, VAN was soon turned into one of the most coveted menswear brands in Japan.

This shows how US culture is widely accepted in Japan (Bain, 2015).

The ivy league style has been an iconic part of Japanese street style for many years now (Bain, 2015), a style that was appropriated from Western culture.

The Japanese youth are an innovative and creative demographic, reimagining the trends that come their way until they are no longer recognisable as “Western trends”. Steve Jobs (1985) said that Japan will take something that’s already been invented it and study it until they thoroughly understand it, and in some cases, understand it better than the original inventor. This quote from Jobs truly encapsulates the essence of Japanese style. The Japanese found a style they were drawn to from America, and created something that has been irrecognisably Japanese ever since.

It is therefore clear that certain aspects of Japanese style were forged on ideas from the West. Japanese designers reinterpreted how American garments are made, implementing their own styles into Western ideas; thus creating something spectacular and unique.

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THE FIRST IVY MODEL SUIT IN JAPAN WAS MADE IN 1959

VAN BY ISHIZU 1.3

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GOVERNMENT MANDATE 2.4

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The government has also began regulating the wider sale of prescription drugs. A mandate has been introduced stating that all employees over the age of 40 (around 50 million people) must take a test to determine whether they are at risk of conditions such as diabetes and high blood pressure; if they are, they are required to exercise and diet correctly. There have also been changes to reduce underage smoking, as well as pushing to increase awareness and access to health remedies (Huysveld, 2015).

Through this research we can understand much more about the Japanese consumer and why they their behaviour is becoming similar of their western counterparts. Japanese consumers are becoming more health conscious, what they put in their body, and in turn what they are putting on their body, ensuring that the garments they are wearing come from ethical origins.

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WABI-SABI 3.3

In Japanese culture, wabi-wabi is a view held Japan-wide on the acceptance of temporariness and imperfection. “This concept is symbolised in the tea ceremony and its ritual, it is an ode to the patina and imperfections of used objects, as the old tea bowls display their scars with pride.” (Becho, 2016 DAZED). This way of thinking resonates in the minds of the avant-garde greats such as Miyake, Kawakubo and Yamamoto, as well as their protege’s Junya Watanabe and Dai Fujiwara. This can be seen through the use of deconstruction and distressing in their garments, a method that was first brought to light by the Japanese greats. This way of thinking resonates from Japan, explaining why many Japanese designers worked this way and in return, creating a new path in which Western designers could imitate and learn from.

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ANREALAGE, 2016

ANREALAGE, 2015 42 43

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UP NEXT 4.3

In the past decade, a variety of designers have begun to acquire audiences at home before venturing out to the world’s fashion capitals (Lau, 2015). Tokyo is proving to be a great starting point for Japanese designers to establish themselves and create a unique identity. Kunihiko Morinaga has held incredibly innovative shows for his label, Anrealage, in conjunction with Japan Fashion Week. He implements wild technology in his designs, showing models wearing mechanical hemlines, UV-lit cage structures and blow-up 3d pixels. It took 10 years for Morinaga to feel confident enough to make his debut in Paris, the world’s most admirable fashion capital, for Spring/Summer 2015. He had models standing in the middle of the room, and their monochromatic outfits were sprayed with light-insensitive pigment (Lau, 2015).

This was thought to be incredibly innovative at the time (Lau, 2015), albeit here is an example of Japanese designers influenced by the West. In Summer/Spring 1999, when Shalom Harlow emerged in a strapless dress, tightened across the bust with a leather belt for Alexander McQueen, two robots come to life. As she rotated around on a circular platform, the robots, which were most commonly used in the painting of cars, sprayed her in an exquisitely choreographed dance (Vogue, 1999). It is clear to see that Morinaga was heavily influenced by McQueens SS99 show when coming up with his own concept.

There are several examples of new generation Japanese designers utilising a variety of different methods used when undergoing design and the creation of garments. Rei Kawakubo has been fostering young designers in her Dover Street Market stores across the world as well as within her own label, Comme Des Garçons, giving her design protégés freedom to express themselves.

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ALEXANDER MCQUEEN, 1999 90

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E

INTERVIEW WITH STAFF FROM NIGO - INTERVIEWEE A LUKE: How old are you?

STAFF: 21 LUKE: So have you lived in Japan your whole life/ STAFF: I lived in LA for 6/7 years. I just got back to go to university here.

LUKE: Do you buy luxury garments or cheaper garments?

STAFF: Yeah I do, i prefer getting the more luxury brands than more cheap clothing like fast fashion LUKE: Why is that??

STAFF: Because for me its just buying those brands, hype brands give you a status of being wealthy. How you represent yourself and spending more money on clothes means it kinda tells you that you have more money.

LUKE: Is it also to do with buying more expensive clothes has been an investment, it will last longer generally or is t more status thing?

STAFF: I think its more of a status thing here in Japan. for people around 21 they like cheap fashion, its not as popular as back then and people are spending more money on good quality clothing stores.

LUKE: Do you generally buy online or in store?

STAFF: I go to buy most my clothes online because the brand in here is a little bit cheaper than if i buy it outside of japan.

LUKE: Would you be going to more japanese brands or western brands?

STAFF: I like a lot of supreme, so western brands.

LUKE: In the past, with people your age most people are going for western brands.

STAFF: Yes more western brands.

LUKE: And regular people in the streets are doing the same?

STAFF: Yes LUKE: why is that do you think?

STAFF: Its a trend setter thing. The people in the states, what they’re wearing will be the trend. Especially the teenagers that think Kanye makes the whole trends for street fashion. It all depends on them.

LUKE: So there’s less of a respect for Japanese brands in Japan? In Tokyo there’s so many independent shops that are really cool and unique. why don’t Japanese people buy from these brands?

STAFF: I think the foreigners are buying more Japanese clothing than the people that are living in japan. I think thats the interesting different. I don’t buy Japanese clothes that often & that is a general trend. xxv

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INTERVIEW WITH STAFF AT BATUKKI - INTERVIEWEE B Z.H: Why do you think Japanese fashion was so successful in the 80s?

INTERVIEWEE B: It was when Rei in the 80s and yohji in Paris, when they arrived it was such a different style of fashion, it took Paris by storm. There was such a different style that gave them the name “Japanese designers”.

They just show what they are really able to do, and when they do for example. the first thing you think about when Japanese fashion is like all the bead the do kimono style, and origami, you don’t have that here. so when you arrive they are so good at it, people preferred it more. since the most weird thing we will see. when compared to japan we have a bunch of clothes that will be more extravagant. even in Montreal, if you want them to be really specific and high class clothes store, and its only yohji and those big brands.

Z.H: Why do you think Japanese designers have been so influential on other designers across the world?

INTERVIEWEE B: Because its so different. i had a degree in fashion design in Canada, my principal was Japanese, and you don’t see that in Canada. when you take that for inspiration. it gives you another way of thinking how to make those things. You have to think how you would do your pattern and how to do your fit. it would be so different than if you take Chanel, which is kind of boring. take these brands for inspiration and the way they think. they own’t take something that looks not expensive. whereas with yohji they will take things and rip them so it doesn’t look expensive, but the way they use the fabric and the fabrics they use make it expensive.

You don’t see that in Canada so when i used that as inspiration everyone was blown away. I want people to see my things and think “what the fuck is that?” I want ugly pretty, ugly pretty is more interesting. Japanese fashion there is always something interesting about it and always something to explore.

If you want to be different but have a really good meaning Z.H: Why do you think Japanese brands are more successful outside of japan?

INTERVIEWEE B: If you look at the most successful Japanese brand it will always be the biggest ones. its very hard for the smaller Japanese brands to get out of japan now. we stock clothes from up and coming Japanese designers, 3 of them graduated from CSM. No information about alumni Japanese designers. Japanese designers are renowned for being “weird”, whereas a lot of Japanese designers are making regular, black clothes.

The main problem Japanese fashion is having is now designers are designing their clothes for their domestic audiences, so the sizing for the west is very difficult.

They are also very hard to work with. You have to order over £1000 to get an order, and one piece is around £60. If you are like Yohji you are fine and you will be successful wherever you are.

But for the smallest brands its just hard to work with them, except a small percentage. The designers think they are more than what they are, we give these brands an opportunity to sell their garments in Europe, you won’t find these clothes anywhere else. Custom fees are very expensive for us and the prices of their garments are too expensive.

Z.H: What are some problems you have with Japanese designers?

INTERVIEWEE B: A lot of the problems are due to the way they are thinking and how they price their garments. The designers don’t care about how they treat the animals used in their furs, leathers etc.

Fur is starting to be a big problem in Europe, so the Japanese not caring about how their products are made is very bad and will only bring bad publicity, so we have to be very careful.

The new Japanese designers are making their products in China, so the animals and people treated are going to be poor, the Japanese don’t care about this. America don’t really care about this (except Canada), whereas in Europe a lot of consumers are looking into how garments are made, how the animals are treated and how the workers are treated.

The Japanese don’t have shape so the sizing of trousers and dresses are not good on the hips but then its too big on the waist. thats why we have only one or two pairs of trousers. they are just too small. Size 3 is the biggest size we have & it just fits perfectly on the mannequin.

If they don’t change the way they think its going to be incredibly hard for them to sell their products in the West. They will not negotiate their prices and are very stubborn when it comes to buying their garments. they think they are better than everyone.

Some of them really follow the western trends, so for this reason they can be very successful but they need to change the way they think.

Z.H: How old is your average consumer?

INTERVIEWEE B: Our average consumer is at least 30. Most people that enter the shop will be asian but they never buy anything, xxviii

INTERVIEW WITH DAVID MARX, AUTHOR OF AMETORA: HOW JAPAN SAVED AMERICAN FASHION Z.H: Japanese designers have been incredibly influential since the 80s. Why do you think western consumers were so drawn to their designs?

DAVID MARX: To answer this question, we need to divide up the appeal of Japanese fashion to the West in three phases.

The first phase was the emergence of avant-garde Japanese designers in Paris.

Kenzo and Issey Miyake went first and established themselves in the 1970s, but movement for Japanese fashion really started in 1981 ?? when Yohji Yamamoto and Comme des Garcons did their joint show. Traditional elements of the fashion industry hated their designs, but they found fans among the art community. There are Orientalist elements that drive this era — Japanese design as an avant-garde “other” — but basically it was used as a counterpoint to traditional ideas of glamour. This was a fashion of ideas.

The second phase was the respect for Japanese street fashion that emerged in the late 1990s. Harajuku women’s styles as seen in Fruits were respected for their wild creativity, whereas Ura-Harajuku brands like A Bathing Ape were seen as the rarest possible streetwear in a scene that coveted rarity.

The third phase was the respect for Japanese versions of heritage brands, as outlined in Chapter Ten of Ametora. This was the idea of “the Japanese do classic AngloAmerican clothing better than people in the West.” So the driver was quality rather than creativity.

While Comme des Garcons certainly set the stage for the second two movements, consumers in all three cases are looking for something different.

Z.H Have you seen a change in how Japanese brands & designers market their products since the rise of the new Japanese consumer?

DAVID MARX: Definitely. I think a lot of earlier Japanese brands marketed themselves as avant-garde art or “zany” streetwear. The new brands offer high-quality products and designs that are influenced by and respectful of historical garments.

Z.H: Do you believe new generation Japanese designers are following the paths of their predecessors, or are they creating a new style of their own to suit the new, more frugal consumers?

DAVID MARX: This again is difficult because Japanese fashion is not a monolithic group of people. The high-fashion designers like writtenafterwards and even Undercover are very inspired by the intellectualism and avant-garde positioning of Comme des Garcons. And heritage brands like The Flat Head or Loopwheeler play on the idea of craftsmanship. Honestly, I think most brands ignore “frugal consumers” because they are targeted towards fashion-obsessed people, of whom there are still a lot in Japan! Only UNIQLO (and to a lesser extent the select shops like Beams) have changed styles to match frugal consumers.

Z.H: What do you believe is next for Japanese fashion?

DAVID MARX: The problem now in Japan is that “street fashion” is hard to understand because the streets are full of non-Japanese tourists who dress like Japanese people from the early 2000s. There are probably more foreign tourists in Harajuku than Japanese kids. Japanese fashion has become very subtle and somewhat conservative, but the level of trend-awareness is still much higher than any other place on earth. That is mostly because they take instruction on what to wear from the select shops and the fashion magazines, who are excellent at finding the latest trends in Paris, London, and New York.

G

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INTERVIEW WITH STORE OWNER, JUN Luke: So recently, Japanese buying habits are changing recently. They are buying less. (music too loud, them not understanding) G: Do you mean how the young people aren’t buying clothes that much anymore?

Luke: Kind of G: (He completely misunderstood the question and answered something about how they are tackling the issue of delivering their brand values) Luke: How has the shop been adapting?

G: (Again, he miss-understood but talked about how the popular fashion now, are the kind that the young people would get hooked on and how he thinks the generation is changing in terms of fashion.

Luke: Do you buy a lot of Japanese brands? (Referring to the costumers of the shops buying) G: Before, the Japanese brands used to be very popular, but now, it’s mainly American brands that are sold.

Luke: Why? G: I think, it’s sort of like – being able to buy things that aren’t as commonly sold. I think the kind of things you can’t commonly buy are in America.

It’s also the American branding, has a different way of branding compared to the making of the Japanese culture – this is probably why the American brand is popular!

Luke: So it’s about having something that less people have?

It’s interesting because a lot of people in the west – America and Europe - look to Japan as inspiration.

Why do you think the Japanese fashion is so influential in the west?

G: But, its this place “Harajuku” – it’s this place that’s been featured a lot - only “Harajuku”.

Those who view Japanese fashion from the west are actually viewing “Harajuku” fashion, and that’s what’s seen as Japanese fashion.

Luke: Harajyuku is a special place then you think?

But most shops in Harajuku are American clothes, right?

This is the centrue of Japanese youth fashion, right?

If Japanese young people wanted to buy Japanese clothes – where would they go and why would they go?

G: Hmm, I guess maybe it’s Harajuku? But right now, it’s been decreasing.

Luke: What is the average age of your costumers?

G: People in their twenties.

Luke: How much would they spend in the store?

G: 20,000 yen.

Luke: And how do you, as a store, try and get people to come in the store?

G: (He thought how many a day) About 100 a day.

Luke: Oh, how, like how do you get people to come to your store? Ads, etc to bring people in to buy clothes?

G: 70,000 (misunderstood the question again) G: 70% come to buy in store and 30% buy online.

H

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