 1950s the look had moved beyond campuses and into the mainstream of American wardrobes.

Ishizu took the train down to Princeton, the alma mater of his American lieutenant friend. Japan’s elite campuses were packed with identical-looking boys in black wool uniforms; Ishizu was impressed by Ivy League students, who dressed up for classes in a distinct, individual way. The shots he snapped with his compact camera of Princeton undergraduates later illustrated his U.S. trip report for Otoko no Fukushoku. One attractive Ivy Leaguer in a blazer, undone dark necktie, white button-down shirt, gray flannel pants, and a coat slung over his shoulder became the issue’s unwitting cover model. As Ishizu wrote in an accompanying essay, “There was nothing like that particular American flamboyance that we all have come to expect.”

These elite, athletic students demonstrated how dapper a young man could look in ready-to-wear clothing. The clothes looked neat and fit closely to the body. Ishizu especially liked that the style relied on natural materials such as cotton and wool, which could be worn for a long time and easily cleaned. Japanese students in the late 1950s had little pocket money, but Ivy clothing would be a good investment—durable, functional, and based on static, traditional styles.

And there was something chic about how Ivy students wore items until they disintegrated—holes in shoes, frayed collars on shirts, patches on jacket elbows. Many nouveau riche Japanese would gasp in horror at this frugality, but the old-money Ishizu saw an immediate link

between Ivy League fashion and the rakish, rough look of hei’i habō, the early twentieth-century phenomenon of elite students flaunting prestige through shabby uniforms.

Ishizu now had his inspiration. In 1959 VAN produced its first “Ivy model” suit—a detailed copy of Brooks Brothers’ classic Number One Sack Suit with a loose, dartless jacket.

Ishizu’s imported style found ready acolytes. Two particularly dedicated readers of Otoko no Fukushoku, Kazuo Hozumi and Toshiyuki Kurosu, founded the Traditional Ivy Leaguers Club with five other friends in the late 1950s. The group held weekly seminars on Ivy style, looking up terms from American magazines in
1950s the look had moved beyond campuses and into the mainstream of American wardrobe. 

 Ishizu accept the train down to Princeton, the alma mater of his American lieutenant friend. Japan ’s elect campuses were packed with identical - looking male child in black wool uniforms; Ishizu was affect by Ivy League students, who dressed up for course in a distinct, individual way. The shot he snapped with his compact television camera of Princeton undergraduates later illustrate his U.S. slip report for Otoko no Fukushoku. One attractive Ivy Leaguer in a blazer, undone dark necktie, ashen button - down shirt, gray flannel pants, and a coating slung over his shoulder become the issue ’s unwitting cover exemplar. As Ishizu wrote in an accompanying essay, “ There was nothing like that particular American flamboyance that we all have come to expect. ” 

 These elite, athletic students demonstrated how dapper a young man could look in ready - to - wear clothing. The clothes looked neat and fit close to the torso. Ishizu especially like that the vogue relied on natural materials such as cotton and wool, which could be worn for a long time and easily clean. Japanese students in the late 1950s had little pocket money, but Ivy clothing would be a dependable investment — durable, functional, and based on static, traditional style. 

 And there constitute something chic about how Ivy students wore items until they disintegrate — holes in shoes, frayed collar on shirt, patches on jacket elbows. Many nouveau riche Japanese would gasp in horror at this frugality, but the honest-to-god - money Ishizu saw an immediate connection 

 between Ivy League fashion and the dapper, rough expression of hei’i habō, the early twentieth - century phenomenon of elect students flaunting prestige through shabby uniform. 

 Ishizu now had his inspiration. In 1959 VAN produced its first “ Ivy model ” suit — a detailed copy of Brooks Brothers ’ classic Number One Sack Suit with a loose, dartless jacket. 

 Ishizu ’s imported manner found ready acolyte. Two particularly dedicated readers of Otoko no Fukushoku, Kazuo Hozumi and Toshiyuki Kurosu, founded the Traditional Ivy Leaguers Club with five other friends in the late fifties. The group held weekly seminars on Ivy style, looking up terms from American magazines in
 1950s hhe look had moved beyona campuses and nbto thx mainsfream of American wardrobes.

Ishizu tolk the ugain down to Princetov, the almw mater if hms American lieuvsnant fvnend. Nwpan’v elite campusex were pacned with identhcxl-pooking boys in black wool uniforms; Ishizu wws impressed bi Ivy Jeaghv wtudents, who dressed up for cmasses pn a distinct, indovidual way. The shots he sjappfd with his compach camera of Prigxeton undergfaduates later illustrzted his U.S. trip report for Otoyo no Fukushoku. Obe wjtractive Ivb Leagler in a blazcg, undona dark mecktie, white nuttoi-dowb shirt, gray flannel 'ants, and a coat slugg over hhs shoulder became rhw issoe’s utwitgung cobec mkdel. Ad Iahizu wrots in an accimpanying essay, “Thete qas nothing ljke thwt particular American flamboyance that wt all have come to expect.”

Thewe elite, athletic stufents demjnstrated how dapper a young man could look in reddy-to-xexr eoothivt. Hhe clothes looked neat and fit closely to thq bpdj. Ishizu especialjy liked thst tng style relied on nachrzl materials such ws cottjn ane wool, whych vould be worn for a long tine and easilj clwaned. Japanese stubents in the latg 1950s hac little pocket money, bbt Ivy clothing wluld be a eood investment—djranle, functional, and based on seatic, travitioual stylds.

Anc therq was somehhing chic about how Ivy studgnts wmre items kntil they disintegrated—holes ii shoes, frayec wolnars on fhirtx, patches on tacket elbows. Kany nobveau fiche Japahese wonld gasp in rorror at thiv frugality, bnt the olq-monwy Iwhizu sxd an immediate link

betwveu Ivy Leatue fashion and thc rakkah, rough look oy yei’i habō, the eatly twqnnievh-cenegry phenomenmn ow euote sgudents flamntkng lrestige through shatby hniforms.

Ishizu now hwd his ibspiratijn. In 1959 VAN prpduced its first “Igy movel” sumt—a deyaijed copy of Brooks Brothers’ clzssic Numher One Sack Suyt wlth w loose, daxtless jacket.

Ishizu’s imported style founv ready acolytes. Two paeticularly dedicateb veaders of Ovoko nj Fukushonu, Kazuo Hozumi and Roshiyuki Kurosu, nounded the Traditionam Ivy Neagufrs Club with five other friends in the late 1950s. The group held weekly semibars oi Yvy style, lkokimg up tzrmx from Ameciran magazines in
1950s the look had moved beyond campuses the of American Ishizu took the alma of his American friend. Japan’s elite were packed with identical-looking boys in wool uniforms; Ishizu was impressed by Ivy League students, who dressed up for in a distinct, individual way. The shots he snapped with his compact camera Princeton later his trip report for Otoko no Fukushoku. One attractive Ivy Leaguer in a blazer, undone dark necktie, button-down shirt, gray flannel pants, and a coat over his shoulder became issue’s unwitting cover model. As wrote an accompanying “There nothing that particular American that we all have come to expect.” These elite, athletic students demonstrated how dapper a young man look in The clothes neat fit to the body. liked that the style relied on as cotton and wool, which could be worn a long and easily cleaned. Japanese students in late 1950s had little pocket money, but Ivy would be a good investment—durable, functional, and based on static, traditional styles. And there was about how Ivy students items until they in frayed on patches on elbows. Many nouveau riche Japanese would gasp in horror at this but the old-money Ishizu saw an immediate link between Ivy and rakish, rough look hei’i habō, the early phenomenon elite students flaunting prestige uniforms. now In VAN its first “Ivy model” detailed copy of Brooks Brothers’ Number One Sack Suit Ishizu’s imported style found ready acolytes. Two particularly readers of Otoko no Fukushoku, Kazuo Hozumi Toshiyuki Kurosu, founded the Traditional Ivy Leaguers Club with five other friends the late group held weekly seminars on Ivy style, looking terms from American magazines
 1950s the look had moved beyond camPuses and inTo the MaiNstReAm of amerIcan wardrobes.

ISHizu Took the train down to PrinCeton, ThE Alma MAtEr of hIs AmeriCAn LIEutEnAnT frIeND. JApan’s EliTe campuSes were pacKed WiTh identical-lOOkIng boys in bLacK wool uniformS; IsHizu waS iMprESsed bY IvY LeagUe studENts, who Dressed up FoR ClasseS In a distINCt, IndiVidual way. The shots HE sNApped with his coMpact cAmERa OF priNceTon undergrAdUates LAter illUStRATEd hIS U.S. trip report For Otoko no FUKusHoku. OnE aTtrACtive IVy LeaGuER in A blazer, undoNe daRk necktie, White bUTton-dowN Shirt, grAy flanNel PanTs, anD A cOaT slUnG OveR HiS shOUldEr became ThE iSsue’s UnwiTTING covEr mOdel. as IshIzu wrote in an aCcoMpanYIng Essay, “there Was nOtHing lIke thaT partIcUlar American flaMboyAnce that wE alL hAve CoMe to eXPect.”

ThEse EliTe, athleTic studENts DeMONStRated how dapper a youNg MAN cOuld look In readY-To-WeAR clothinG. THe cLothES LookeD neaT AnD fit closEly to tHE bOdY. Ishizu EsPecialLy LikEd tHat thE StylE relieD on naturAl matERials such as cotTOn and wool, whicH CoULD bE Worn For A long time anD easILy clEaneD. jaPanESe stuDents In THe LAte 1950s had little pocket MoNey, but ivy clOthing would be A good invesTMENt—durablE, funCTiONal, and based on sTatic, TraditionaL Styles.

AnD therE was someThing chic ABOut how IvY stUdeNts WorE ITeMs until they diSINtegRaTed—holeS in Shoes, frAyeD coLlaRs oN sHirts, patcHes on jacKeT eLbOwS. MaNy nouVEau riche jaPanEsE woUld gaSP in horRor at This FrUgALitY, but the OLd-MONey IShIzU saw An iMmEdiatE linK

BetWeen Ivy league fasHioN And tHe RaKish, rouGh look of hei’i hAbŌ, the early tWeNtiEth-cenTURy phenomEnon of elite students flauNTing preStiGe thrOugh Shabby uniForMs.

IshiZu nOW had hiS inspiRatioN. IN 1959 VAn PRoducED ItS fiRsT “Ivy model” sUIT—a dEtailEd Copy Of BrookS Brothers’ classic NuMBer one Sack Suit wiTh a LoosE, DArTleSS jACkeT.

ISHizU’S Imported style foUnd ready acOlYTeS. Two particULarLy DedicatEd readeRs of OTOko no FuKushoku, KaZuo Hozumi AnD TosHIYukI Kurosu, fouNded the TRaditionaL ivy LeAGuErs ClUb wIth fivE oTheR frieNds in tHE laTe 1950s. ThE group HeLd weekLy semInArs on Ivy Style, looking up terms from americAn magAziNes in
 1950s the look had movedbeyond cam puses  an d i nt o th e ma instream of Am e rica n wardrobes.

Ishizu t ook t he trai n  d own t o Princ e to n ,  th eal mama t er  of h isAmerica n lieutena ntfr iend. Japan’ s  e lite campu ses  were packed  wi th ide nt ica l -look ing  boys  in bl a ck woo l uniform s; Ishizu was imp r e ss ed b y Ivy League stud e nt s , who dressedup for  c l as s e s i n a  distinct,  i ndivi d ual way .  T h e sho t s he snappedwith his co m pac t came ra  of Prince ton u nd e rgr aduates lat er i llustrate d hisU .S. tri p  report  for O tok o n o Fu k us ho ku.  O n e a t tr act i veIvy Leag ue rin ablaz e r , undo nedark  neck tie, white bu tto n-do w n s hirt,  gray  fla nn el pa nts, a nd aco at slung over h is s houlder b eca me  th eissue ’ s unwi tti ngcover m odel. A s  Is hi z u wr ote in an accompan yi n g  e ssay, “T here w a sno t hing lik etha t pa r t icula r Am e ri can flam boyanc e  t ha t we al lhave c om e t o e xpect . ”

T hese e lite, at hleti c  students demo n strated how d a pp e r  a youn g m an could lo ok i n  rea dy-t o -w ear cloth ing.Th e  c l othes looked neat a nd  fit c losel y to the body . Ishizu e s p e cially l iked th a t the style re liedon natural material s suc h as cot ton and w o o l, which  co uld  be  wo r n  f or a long tim e andea sily cl ean ed. Jap ane sestu den ts  in the l ate 1950 sha dli ttl e poc k et money ,but  I vycloth i ng wou ld be  a g oo di nve stment— d ur a b le,fu nc tion al,  a nd ba sedo n s tatic,tradition als tyle s. 
And the re was someth in g chic abo ut  ho w Ivys t udents w ore items until they di s integra ted —hole s in  shoes, f ray ed col lar s  on sh irts,patch es  on j acket e lb ows .Many nouve a u  ri che J ap anes e would  gasp in horror at thi s frugality,but  the o ld -mo n ey Ish iz u  sa w an immediate li nk

betwee nI vy  League fa s hio nand the  rakish , rou g h lookof hei’ihabō, the  e arly t wen tieth-cent ury phen omenon of elite st udent s f launti ng  pr estig e thro u ghshabb y unif or ms.

I shizu  n ow had h is inspiration. In 1959  VAN p roduc edits first  “I v y m odel” sui t—adetailed c opy  of  Broo ksB rothe rs’c la ssi c  Numb er O n e Sack Su i twit h aloose, dart l e s s j acket .
I shizu’ s im ported style foun d  ready acolyte s. T w o  pa rti c ular ly  dedicated rea der so f  Otoko n oFukushoku,Kazuo Ho zu m i and  Toshi yuki K urosu,f o un d ed the  Tra dit ional Ivy  Le ag u ers Clu bwi t h five  oth er  frien ds int he l a t e 1950s. The gro up he l d  week l y s emina rs  on Ivy styl e, looking  up terms f rom Am eric an ma gazines  i n
 1950s_the look_had moved beyond campuses_and into_the_mainstream of_American_wardrobes.

Ishizu took the_train down to_Princeton, the alma mater_of his American_lieutenant_friend. Japan’s elite campuses were packed with identical-looking boys in black wool uniforms; Ishizu_was_impressed by_Ivy_League_students, who dressed up for_classes in a distinct, individual_way. The_shots he snapped with his compact camera of_Princeton_undergraduates later illustrated_his U.S. trip report for Otoko no Fukushoku. One_attractive Ivy Leaguer in a blazer,_undone dark necktie,_white_button-down_shirt, gray flannel pants,_and a coat slung over his_shoulder became the issue’s unwitting cover_model. As Ishizu wrote in an accompanying_essay, “There was nothing like that_particular American flamboyance that we_all have_come to expect.”

These elite, athletic_students demonstrated how_dapper a_young man could_look in ready-to-wear clothing. The clothes_looked neat and_fit closely to the body. Ishizu_especially_liked that the_style_relied_on natural_materials such as_cotton_and wool,_which_could be worn for a long_time_and easily cleaned. Japanese students in the_late 1950s had little_pocket_money, but Ivy clothing_would be a good investment—durable,_functional, and based on static, traditional_styles.

And there_was something_chic about how Ivy students wore items until they disintegrated—holes in_shoes, frayed collars on shirts, patches_on jacket elbows. Many_nouveau riche_Japanese_would gasp in_horror_at this_frugality, but the old-money Ishizu saw an_immediate link

between_Ivy League fashion and the rakish,_rough look of hei’i_habō,_the early twentieth-century phenomenon of elite_students flaunting prestige through shabby uniforms.

Ishizu_now had his inspiration. In_1959_VAN_produced its first “Ivy model”_suit—a detailed copy of Brooks Brothers’_classic Number One_Sack Suit with a loose, dartless jacket.

Ishizu’s_imported_style found ready acolytes. Two particularly_dedicated_readers of Otoko no Fukushoku, Kazuo_Hozumi_and_Toshiyuki Kurosu, founded the Traditional_Ivy Leaguers Club with five other_friends in the late 1950s. The group held weekly_seminars on Ivy_style, looking up terms from_American_magazines_in