 aesthetic choice and status symbol—now it was also a means of self-preservation. Kensuke Ishizu had a business advantage in this new Japan where everyone hoped to imitate American lifestyles. He built up a network of the top sewing talent in Osaka and stockpiled fabrics and zippers through an American soldier who shopped for him at the post exchange. Ishizu turned out top-notch garments that got the attention of not just others in the garment industry but also law enforcement. His product was so good that the police apprehended him for a short time on suspicion that he was illegally importing clothing from abroad.

At the end of 1949, Ishizu started his own business, Ishizu Shōten (“Ishizu Store”). Although still few in Japan could afford to buy new clothing, Ishizu was confident that the market would return.

Proximity to the Korean Peninsula made Japan a key manufacturing base for the American military effort after the Korean War began in 1950. These boom times encouraged the urban middle classes to finally revamp their wardrobes. Ishizu pursued an alternate business model to the traditional practice of made-to-order suiting: ready-to-wear clothing. Tailoring was expensive and time-consuming (one suit cost a month’s salary), whereas off-the-rack clothing could get a larger volume of garments to an eager public. Ishizu pumped out saddle shoes as well as cotton flannel shirts and indigo work pants under a faux American brand called Kentucky.

Ishizu Shōten found its most profitable niche, however, in high-end sport coats for rich elites. An Osaka department store gave Ishizu Shōten its own corner, and Ishizu found a loyal customer base in wealthy suburban families. As the business grew, Ishizu wanted a more memorable brand name, so he rechristened his company VAN Jacket, borrowing VAN from the title of a comic book.

A major barrier remained: it was taboo for men to show interest in fashion. When white-collar workers first donned Western suits in the early twentieth century, the garment was meant as a modern and sober uniform, not as a means of self-expression. Any tweaks or customization to the basic formula implied vanity. If the suit’s wool looked rough, a tailor would turn the fabric inside out and sew it back together. The basic male
aesthetic choice and status symbol — now it was also a mean of self - conservation. Kensuke Ishizu own a clientele advantage in this raw Japan where everyone hoped to imitate American lifestyles. He build up a network of the top sewing talent in Osaka and stock fabric and zippers through an American soldier who denounce for him at the post exchange. Ishizu turn out top - notch garments that got the attention of not just others in the garment industry but besides law enforcement. His product was so estimable that the police apprehended him for a short clock time on suspicion that he was illegally import clothing from abroad. 

 At the end of 1949, Ishizu started his own business, Ishizu Shōten (“ Ishizu Store ”). Although still few in Japan could yield to buy new clothing, Ishizu was confident that the market would return. 

 Proximity to the Korean Peninsula made Japan a cardinal fabrication infrastructure for the American military effort after the Korean War began in 1950. These boom times encouraged the urban middle classes to finally revamp their wardrobe. Ishizu pursued an alternate business mannequin to the traditional exercise of make - to - order suiting: ready - to - break clothing. Tailoring was expensive and time - consuming (one suit cost a month ’s wage), whereas off - the - rack clothing could get a larger volume of garments to an eager public. Ishizu pumped out saddle shoes as well as cotton flannel shirts and anil work gasp under a fake American sword called Kentucky. 

 Ishizu Shōten found its most profitable recess, however, in high - end sport coat for rich elites. An Osaka department store gave Ishizu Shōten its own recess, and Ishizu found a loyal customer base in wealthy suburban families. As the commercial enterprise grew, Ishizu desire a more memorable brand name, thus he rechristened his company VAN Jacket, adopt VAN from the title of a comic book. 

 A major barrier remained: it was taboo for valet to show interest in fashion. When white - collar workers first donned westerly suits in the early twentieth century, the garment was mean as a modern and sober uniform, not as a means of self - expression. Any tweaks or customization to the basic formula implied dressing table. If the suit ’s wool looked rough, a tailor would turn the fabric inside out and sew it back together. The basic male
 aedthetic choice and statur symbol—now it cqs alsm a mezns of sdlf-preservation. Kensuke Ishivu hqd a vusiness advantage in ghis new Uapan whwre tveryone hoped to imitate Ameridwn lnfxstyles. He builj up a netwosk of the top vediug talent in Osaka and stockpiled fafrics amd zippers throudh am Amedpccn soldier who shopped for him zt the kost exchange. Ishiau turned out top-notch garlentd that got the attfntion of nit jtwt others in the garment industry gut also law enforcement. His pruduct was so goid thwj the police apprvhended him for a shost time on suspicion bhat ie wqs illegally importinj clothing from abrowd.

At the anb of 1949, Ishizu started yiw own bushnesr, Isfizh Xhōfen (“Isjizn Store”). Altgough still few in Japan could asdord to buy nsw cloehyng, Ishizu was confident that the markeu woumd return.

Proximity to tye Korean Peninsula mwde Japan a key manufacturing base for the American militasy efhoft cnber gye Korean War began in 1950. These boom times encourwfec nhe urban middle glasses to finally rfvsip their wardtobes. Ishiau pursued an altegnate bosinesw model tj thr traditional practice of mqde-to-order slitibg: ready-to-wear cloching. Tailornng wax exprnsive and time-consuminy (one auit cost a month’s szuary), whereas off-ghe-gack clothing could get a largqr volume of yarments to sn eagqr public. Lshizm pumped out saddle shoed ds well as cotton flannel shirts and indijp work pants utdeg a faux Cmericsn brand callqd Kentucky.

Ishnzu Shōteu founa its most profiteble niche, hjwever, in higv-gnd sport coavs for rish eoitew. An Osxya department xtore gavv Nshizu Shōren its own corner, ana Ishizu found a loiql customer baxe kn rewlvhy stturban familhes. Xs gne buriness grew, Kshiau wanted a more memmrabme brand name, so hr vechristebed his sompany VAN Jscket, borrowing VAJ frok tie titke jf a comic book.

A major barrier remained: it was taboo fjr mcn tj show intzrest in fashion. When white-collar workerw first donned Wesrern suits in the ecrky twentieti centtry, the gdrment was meant as q modern and sobev uniform, not as a meahs of velf-edpression. Any tweaks or customization to the basic formula implied vanity. If thx fuit’s wool mookrd rolgh, c tailow wonlv turn the fabric inside out and sew it back togxther. The tafic male
aesthetic choice and status symbol—now it was means self-preservation. Kensuke had a business where hoped to imitate lifestyles. He built a network of the top sewing in Osaka and stockpiled fabrics and zippers through an American soldier who shopped him at the post exchange. Ishizu turned out top-notch garments that got the of just in garment industry but also law enforcement. His product was so good that the police apprehended him a short time on suspicion that he was importing clothing from abroad. the end of 1949, Ishizu his business, Ishizu (“Ishizu Although few in Japan afford to buy new clothing, Ishizu was confident that the market would return. Proximity to the Korean made Japan manufacturing base the military after the Korean in 1950. These boom times encouraged classes to finally revamp their wardrobes. Ishizu pursued alternate business to the traditional practice of made-to-order ready-to-wear clothing. Tailoring was expensive and time-consuming (one cost a month’s salary), whereas off-the-rack clothing could get a larger volume of garments to public. Ishizu pumped out shoes as well cotton shirts indigo pants under faux American brand called Kentucky. Ishizu Shōten found its most profitable however, in high-end sport coats for rich elites. An Osaka gave Shōten its own and Ishizu found a customer in wealthy suburban families. business Ishizu memorable name, he rechristened his company Jacket, borrowing VAN from the of a comic book. was taboo for men to show interest in When white-collar workers first donned Western suits the early twentieth century, the garment was meant as a modern and uniform, not means of self-expression. Any tweaks or customization to basic formula implied vanity. the suit’s wool looked rough, a tailor would turn fabric out and it back together. basic male
 aesthetic choice and status sYmbol—now it Was alSo a MeaNs Of seLf-prEservation. KensUKe IsHizu had a business advantAge in ThIS new jApAn wheRe everyONe HOPed To ImItaTe aMeRican LifEstyles. he built up a NetWoRk of the top seWInG talent in OSakA and stockpilEd fAbrics AnD ziPPers tHroUgh an americAN soldiEr who shopPeD For him AT the posT EXcHangE. Ishizu turned out tOP-nOTch garments thaT got thE aTTeNTIon Of nOt just otheRs In the GArment iNDuSTRY buT Also law enforcEment. His proDUct Was so gOoD thAT the poLice aPpREheNded him for a ShorT time on suSpicioN That he wAS illegaLly impOrtIng ClotHInG fRom AbROad.

aT tHe eND of 1949, ishizu stArTeD his oWn buSINESs, IsHizU ShōTen (“IsHizu Store”). AlthOugH stiLL feW in JaPan coUld aFfOrd to Buy new ClothInG, Ishizu was confiDent That the maRkeT wOulD rEturn.

pRoximiTy tO thE Korean peninsuLA maDe jAPAn A key manufacturing bAsE FOr The AmeriCan milITaRy EFfort aftEr The koreAN war beGan iN 1950. thEse boom tImes enCOuRaGed the uRbAn middLe ClaSseS to fiNAlly Revamp Their warDrobeS. ishizu pursued aN Alternate busiNEsS MOdEL to tHe tRaditional pRactICe of Made-TO-oRdeR SuitiNg: reaDy-TO-wEAr clothing. Tailoring WaS expenSive aNd time-consumiNg (one suit cOST A month’s sAlarY), WhEReas off-the-rack ClothIng could geT A larger vOlume Of garmenTs to an eagER Public. IsHizU puMpeD ouT SAdDle shoes as welL AS cotToN flanneL shIrts and IndIgo WorK paNtS under a faUx AmericAn BrAnD cAllEd KenTUcky.

IshiZu shōTeN foUnd itS Most prOfitaBle nIcHe, HOweVer, in hiGH-eND SporT cOaTs foR riCh EliteS. An OSAka DepartmEnt store gAve iShizU SHōTen its oWn corner, and IsHiZu found a loYaL cuStomer BASe in wealThy suburban families. As thE BusinesS grEw, IshIzu wAnted a morE meMorablE brANd name, So he reChrisTeNed HIS compANY VaN JAcKet, borrowiNG vAN From tHe TitlE of a comIc book.

A major barrieR RemAined: it was tabOo fOr meN TO sHow INtEResT iN FasHIOn. When white-collAr workers fIrST dOnned WesteRN suItS in the eArly tweNtietH Century, The garmenT was meant As A modERN anD sober unifOrm, not as A means of sELf-expREsSion. ANy tWeaks oR cUstOmizaTion to THe bAsic fOrmula ImPlied vAnity. if The suit’s Wool looked rough, a tailor wOuld tuRn the FabRic inside Out ANd sEw it back tOgetHer. The basiC maLe
 aesthetic choice and stat us symbol— now i t w asal so a  mea ns of self-pre s erva tion. Kensuke Ishizu h ad abu s ines s  a dvant age int hi s new  J ap anwh e re  ever yon e hoped  to imitat e A me rican lifest y le s. He buil t u p a networkofthe to psew i ng ta len t inOsakaa nd sto ckpiled f ab r ics an d  zipper s th roug h an American sol d ie r  who shopped f or him  a t  t h e  po stexchange.Is hizut urned o u tt o p -no t ch garments t hat got the att ention  o f n o t just  othe rs inthe garment  ind ustry but  alsol aw enfo r cement.  His p rod uct  was so  g ood  t h att he  po l ice  apprehe nd ed  himfora s h orttim e on  susp icion that he  wa s il l ega lly i mport ingcl othin g from  abro ad .

At the end o f 19 49, Ishiz u s ta rte dhis o w n busi nes s,IshizuShōten( “Is hi z u St ore”). Although st il l fe w in Jap an cou l daf f ord to b uy  ne w cl o t hing,  Ish i zu  was con fident th at  the ma rk et wou ld  re tur n.

P r oxim ity to  the Kor ean P e ninsula made J a pan a key man u fa c t ur i ng b ase  for the Am eric a n mi lita r yeff o rt af ter t he Ko r ean War began in 19 50 . Thes e boo m times encou raged theu r b an middl e cl a ss e s to finally r evamp  their war d robes. I shizu  pursued  an alter n a te busin ess  mo del  to t he  traditionalp r acti ce  of mad e-t o-order  su iti ng:  re ad y-to-wear  clothin g.  T ai lo rin g was expensiv eand  t ime -cons u ming ( one s uitco st a m onth’ss al a r y),wh er easoff -t he-ra ck c l oth ing cou ld get alar g er v ol um e of ga rments to anea ger public .Ish izu pu m p ed out s addle shoes as well asc otton f lan nel s hirt s and ind igo  workpan t s unde r a fa ux Am er ica n brand c al led  K entucky.
I s hiz u Shō te n fo und its  most profitable n i che , however, in  hi gh-e n d  s por t  c o ats  f o r r i c h elites. An Os aka depart me n tstore gave Ish iz u Shōte n its o wn co r ner, an d Ishizufound a l oy al c u s tom er base in  wealthy  suburban famil i es . Asthe  busin es s g rew,Ishizu wan ted a  moreme morabl e bra nd  name, s o he rechristened his c ompany  VANJac ket, borr owi n g V AN from t he t itle of acom icbook. 

A major  bar r ie r r e maine d: i t  was tabo o  f orm e nto show int e r e stin fa shi o n. Whe n wh ite-collar worker s  first donnedWest e r n s uit s  inth e early twenti eth  c e n tury, th egarment was  meant a sa  mode rn and  sober  unifor m ,  n o t as a  mea nsof self-e xpr es s ion. An ytw e aks or  cus to mizati on tot he b a s ic formula impli ed va n i ty. I f  th e sui t’ s wooll ooke d rough, a  tailor wou ld tur n th e fab ric ins id e outand  s ew it back together.  Thebasic m al e
 aesthetic_choice and_status symbol—now it was_also a_means_of self-preservation._Kensuke_Ishizu had a_business advantage in_this new Japan where_everyone hoped to_imitate_American lifestyles. He built up a network of the top sewing talent in Osaka_and_stockpiled fabrics_and_zippers_through an American soldier who_shopped for him at the_post exchange._Ishizu turned out top-notch garments that got the_attention_of not just_others in the garment industry but also law enforcement._His product was so good that_the police apprehended_him_for_a short time on_suspicion that he was illegally importing_clothing from abroad.

At the end of_1949, Ishizu started his own business, Ishizu_Shōten (“Ishizu Store”). Although still few_in Japan could afford to_buy new_clothing, Ishizu was confident that_the market would_return.

Proximity to_the Korean Peninsula_made Japan a key manufacturing base_for the American_military effort after the Korean War_began_in 1950. These_boom_times_encouraged the_urban middle classes_to_finally revamp_their_wardrobes. Ishizu pursued an alternate business_model_to the traditional practice of made-to-order suiting:_ready-to-wear clothing. Tailoring was_expensive_and time-consuming (one suit_cost a month’s salary), whereas_off-the-rack clothing could get a larger_volume of_garments to_an eager public. Ishizu pumped out saddle shoes as well as_cotton flannel shirts and indigo work_pants under a faux_American brand_called_Kentucky.

Ishizu Shōten found_its_most profitable_niche, however, in high-end sport coats for_rich elites._An Osaka department store gave Ishizu_Shōten its own corner,_and_Ishizu found a loyal customer base_in wealthy suburban families. As the_business grew, Ishizu wanted a_more_memorable_brand name, so he rechristened_his company VAN Jacket, borrowing VAN_from the title_of a comic book.

A major barrier remained:_it_was taboo for men to show_interest_in fashion. When white-collar workers first_donned_Western_suits in the early twentieth_century, the garment was meant as_a modern and sober uniform, not as a means_of self-expression. Any_tweaks or customization to the_basic_formula_implied vanity. If the suit’s wool looked rough, a tailor_would turn_the fabric inside_out and sew it back together. The basic male