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Established by Goro Takahashi following a profound spiritual encounter during his initiation into the Lakota tribe in the United States, Goros is a distinguished Japanese brand celebrated for its exquisite, handcrafted jewelry inspired by Native American traditions. Crafted in small batches, the jewelry is exclusively available from a sole storefront in Harajuku, Tokyo. The brand has cultivated a devoted following due to its highly limited and exclusive inventory, accessible only to those willing to endure hours of anticipation for entry and engage in a ceremonial shopping experience. This exclusivity has solidified Goros' legacy as one of Japan's most renowned brands, emphasizing its dedication to craftsmanship, cultural exchange, and a distinctive human-centered retail model. This approach has garnered worldwide attention, inspiring pilgrimages from enthusiasts across the globe.

Goros

Legend of Harajuku Goros, Volume 2

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Takarajima is a renowned Japanese magazine known for its diverse content, spanning topics like entertainment, culture, lifestyle, and current affairs. With a focus on captivating visuals and insightful articles, it offers readers a unique blend of entertainment and informative storytelling, making it a beloved publication in Japan for decades.

Takarajima

Last Orgy 2, Issue 23 with Translation

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Punk. Fantasy. Couture. Counterculture. Believe it or not, all of these words and more come to mind when people hear the name ‘Undercover’. From its highly acclaimed collections capturing the essence of the times, to collaborations with a wide range of brands including Supreme and Nike, the Japanese cult brand is a pioneer in combining youth and countercultures with high fashion over the course of decades. Its impact on both fashion and culture as a whole is simply incomprehensible, but perhaps we can gain a clearer understanding of it through it’s founder Jun Takahashi.

Born in 1969 in the countryside of Japan, Jun Takahashi radiated rebellious energy from the very beginning, becoming infatuated with English punk band Sex Pistols and punk-esque designer Vivienne Westwood from a young age. This fascination with clothing led him to enroll in Japan’s prestigious Bunka Fashion College, where he would create Undercover together with his friend Hironori Ichinose. The beginnings of Undercover consisted of clothing inspired by the work of Vivienne Westwood, but soon began to find its own voice and soon enough its own cult following. Takahashi, together the Japanese fashion figures Hiroshi Fujiwara and Nigo, created the ‘limited streetwear’ formula before the likes of Supreme ever did, creating a mysterious aura around his brand as a result. This strategy of incorporating high quality clothing with youth and streetwear sensibilities would build up Undercover’s notoriety over the years, eventually taking the spotlight on the world stage from its debut Paris collection at Paris Fashion Week in 2002 and beyond. The rest is history: Undercover has proven itself as a force to be reckoned with, influencing both people in the fashion industry and creatives who dream for greatness. With Undercover’s existence in this world, who is to say that greatness is just a dream?

Undercover

Labyrinth of Undercover

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Kapital, a cult Japanese fashion brand founded in 1985 in Kojima, Japan, stands out for its authenticity and individuality, with Kiro Hirata leading the creative direction. Known for unique themes like Boro denim and Century denim, Kapital's annual lookbooks reflect its philosophy, showcasing experimental garments, challenging proportions, and distinctive fabric choices. The brand explores diverse cultures and historical periods, with each catalog offering a unique visual and storytelling experience. Despite its growing popularity, Kapital maintains a DIY approach to catalog creation, emphasizing raw, unproduced aesthetics. The text delves into the complex topic of cultural appropriation, questioning the brand's portrayal of various cultures while acknowledging the difficulty of making clear distinctions. In recent years, Kapital has shifted towards a more encompassing approach, incorporating global sources into its styling, all while maintaining a commitment to eccentricity. The brand's lasting cultural impact is acknowledged, prompting appreciation for its unique visual language and influence on the fashion industry.

Kapital

Fukkin Kountry Lookbook

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As a graduate of the LUCA School of Arts, Raf Simons, a Belgian fashion designer, has been a trailblazer for contemporary fashion and luxury streetwear. Raf began researching menswear on his own and began his namesake brand, Raf Simons, in 1995. His early designs were a direct representation of his obsession with youth culture, rebellion, European punk music, and David Bowie. Raf’s work in the 90s and early 2000s established himself as a borderline cult-leader in fashion, as the audience always paid attention when something new came from the designer and his brand. Influenced heavily by the Antwerp 6+, Raf was able to curate and pave his own niche road in the fashion industry. He never deviated from his reference foundational pillars of youth culture, rebellion, music, and films. Everything was intentional and everything seemed effortless. That was the ethos that Raf created & upheld for decades of fashion and creative expression.

Raf Simons has also been a pioneer of collaborations and bridging entities on opposite sides of the cultural and artistic spectrum. From household names like Fred Perry, Brain Calvin, Adidas, Sterling Ruby, and the Robert Mapplethorpe Foundation, Raf has always believed in the concept of taking two and making one. The result is an extensive portfolio of creative collections that will withstand the test of time and saturation. Along with his namesake brand, Raf Simons has also gotten several nods and co-signs from major fashion houses. In 2005, he was appointed to the creative director role at Jil Sander, establishing his first opportunity to create and showcase womenswear. After 7 years at Jil Sander, Raf continued his womenswear journey at Dior and dabbled with Haute-Couture in 2012. Raf’s time at Dior propelled his ethos as one of the titans of fashion design, as his minimalist tailoring complimented the incorporation of genuine emotion via artistic expressions. His three and a half tenure at Dior came to an end via resignation and Raf took his talents to Calvin Klein as their Chief Creative Officer. This was Raf’s first attempt at testing his American influence, as he began showing in New York City. Though his time at Calvin Klein was his shortest creative appointment, Raf was able to continue his journey of effortless intention and establish himself as one of the Godfathers of fashion design. In 2020, Raf joined Miuccia Prada’s Prada as a co-creative director and began showing in Milan in 2021. Not only was this appointment a full-circle moment for Raf, it was a moment of closure for fashion. Raf, who spent his entire fashion career poking at the status quo, continues to push the design limits with his forever young rebellious spirit. That is the true definition of a timeless legacy.

Raf Simons

The Fourth Sex

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Issey Miyake was revered as a mystic figure with a profound understanding of humanity. Born in Hiroshima in 1938, witnessing the city's destruction by a nuclear bomb shaped his existential perspective. Miyake's career began in Paris, influenced by the May 1968 protests, and later, he established the Miyake Design Studio (MDS) in 1970. His design philosophy focused on simplicity and pragmatism, creating garments that made life easier. Collaborations with artists like Irving Penn and a commitment to sustainability marked his influential career. Miyake's contributions extended beyond fashion, impacting Japan's creative scene, and his ethos of moving forward and fostering curiosity transcends art and clothing. After relinquishing design control in 1999, he focused on innovative textiles until his passing. Miyake's legacy is defined by a relentless pursuit of progress and curiosity.

Issey Miyake

Making Things

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Last Orgy 2, Issue 14 with Translation

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Started in 1997 by designer Takahiro Miyashita, Number (N)ine has always been a hit in Japan, with a devoted fan base remaining to this day. Due to the rise of archive fashion in recent years, Number (N)ine has quickly garnered attention in the West. With piqued interest, more information has become available to us, with runway footage, editorial scans, and interviews to name a few, with more being uncovered by the day.

Although the brand started in 1997, the first two years consisted of establishing its standards and creating basic items. It started to get more creative two years later, with a total of 21 unique seasons spanning from 1999 to 2009. Fashion shows were conducted in Japan from 2000-2003, and shows in Paris were from 2004-2009. The brand name stems from the Beatles song 'Revolution 9,' a cacophony of musical elements with monotonous vocals repeating the words “number nine,” over and over. Frequent references to Kurt Cobain, The Beatles, and various other musical artists allow this brand to become instantly appealing to any music lover. Yet, the brand is also accessible to anyone due to its streetwear aesthetic at first glance; Americana and grunge themes are ubiquitous, and always find their way into the collections. The more you look into the brand however, the more you appreciate the subtle details and references prevalent everywhere. A melancholy tinge paints over the brand, with a somber atmosphere for some of the shows, and clothing being affixed with references to pain and sorrow. This comes as no surprise, with Mr. Miyashita being no stranger to reflecting on his mental hardships. He even thanked his doctors on the back of the staff tee shirt for SSAW2003. Number (N)ine becomes the literal embodiment of the phrase “wearing your heart on your sleeve.”

It is no surprise that Number (N)ine remains relevant to this day, most likely because of Mr. Miyashita’s seamless blending of musical elements and meticulously crafted garments. Through his work, we can begin to appreciate the connection between these two different mediums of art, giving rise to a truly unique experience which separates him from the rest. Although Number (N)ine under Takahiro Miyashita has been defunct since February 20th, 2010 (Kurt Cobain’s birthday), his legacy now continues through his current brand TAKAHIROMIYASHITATheSoloist.

Number (N)ine

Truth of Number (N)ine

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Raf Simons Redux

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Yohji Yamamoto was born in Tokyo and grew up working with his mother for her dress tailoring business. At first he earned a degree in Law, but after graduating it was his mom’s tailoring work that led him to study fashion design at the Bunka Fashion College, eventually graduating in 1969. After discovering fashion from his mother at a young age, Yamamoto has now been revered as a master tailor known for his experimental interpretation of the Japanese aesthetic. The first Yohji runway shows were held in Tokyo in the late 70’s and he eventually had Paris and New York debuts during the early 80’s.

These first fashion week shows drew in large crowds and Yamamoto began to gain traction in the press. By the early 90’s Yamamoto had developed a dark avant-garde lifestyle that was extremely appealing to many; Long draped dresses, almost sculptural jackets, and large hats are all staple pieces to both his mens and womenswear lines. Yamamoto does not design his clothing based on any trends in fashion, he simply uses his own inspiration and outlook to make his ideas come to life. Alongside both Yohji Yamamoto Mens and Womens collections and sub-label 'Y’s', 'Y-3' was created in 2003 acting as an experimental sportswear line. Yohji Yamamoto is the godfather of Japanese fashion in a sense, paving his own lane, doing what he does best, and not veering off track, which is why he is such an emblematic fashion designer.

Yohji Yamamoto

My Dear Bomb

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AW1995 Lookbook

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Comme Des Garçons in french simply means 'like boys', with the brand of the same phrase being created by the Japanese mastermind Rei Kawakubo. She first founded the label in 1969 in Tokyo and it quickly began to gain popularity in the 70’s. CDG released its first menswear line in 1978 with their first ever runway show in Paris a few years later in 1981. The brand was often associated with a thrashed-punk style and many of her early collections were well received during the 80’s and 90’s despite her uncommon creative style. From early on, CDG had many different sub-labels under their umbrella such as CDG Homme Plus and CDG Noir, but by the early 2000’s designers like Junya Watanabe and Fumitu Ganryu had their own lines under the CDG label as well. Each of these lines has its own purpose, while other lines were specific to wallets, fragrances, jewelry, and swimwear.

With the creation of Dover Street Market in 2004, the CDG Play line gained popularity quickly and offered casual streetwear catering to a younger audience in a more accessible price range. The Play line is one of the most recognizable lines from CDG as most of the T-shirts and hoodies are usually decorated with their unsophisticated yet classic heart with eyes logo originally created by Filip Pagowski. The success of CDG eventually led to their first collaboration with the footwear giant Converse in 2009 which has continued since with them releasing many new editions of the shoes. In more recent years, Comme Des Garçons has done collaborations with streetwear and designer brands like Supreme, Louis Vuitton, and Nike, the company has become one of the most successful 'anti-fashion houses' in the industry.

Comme des Garcons

Katsuhiro Otomo for Comme des Garcons DM 18

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Guru of the Fashion World

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Last Orgy 2, Issue 15 with Translation

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Last Orgy 2, Issue 16 with Translation

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AW1998 Lookbook

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FARMY Lookbook

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Last Orgy 2, Issue 17 with Translation

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25th Anniversary Under Cover Special Edition, Quotation Magazine

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Legend of Harajuku Goros, Volume 1

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ss2003 Scab Runway Looks

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SMART Magazine Special

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In 1988, Martin Margiela founded his label 'Maison Martin Margiela' and began making waves in the fashion community almost immediately. From the first show in 1988 till his departure in 2008, the designer put out avant-garde looks season after season, with shows that often conveyed messages that went beyond the clothes themselves. Oddities of MMM shows included obscuring models' faces, so as to draw attention to the clothing itself, to the often unconventional choice of venues that brought viewers out of their comfort zones. In Margiela's own words, the style of MMM at the time was “a style of freedom”, with the designer and brand charting their own paths, while still remaining in the realm of high fashion. This uncompromising expression of original ideas and unique twists on classic garments defined the early years of the label.

Maison Martin Margiela

Street Special Edition

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Veronique Branquinho, a designer who emerged the same time and from the same  place as many of fashion's historic figures, is not one who should be overlooked when analyzing late 90s/early 2000's fashion. Veronique Branquinho not only provided runways with tasteful and alluring classic designs, she proved herself as a designer who was also capable of designing complete conceptual collections that conveyed a captivating story to an audience. 

Veronique Branquinho

Veronique Branquinho A/W 2004 Menswear

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TGRAPHICS

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Chrome Hearts traces its roots to a Hollywood carpenter, Richard Stark, who, after a serendipitous movie costume design opportunity, co-founded the brand in a Los Angeles garage. Initially renowned for high-quality leather goods adorned with sterling-silver motifs, Chrome Hearts gained prominence among rock and punk bands, ultimately earning Richard Stark the CFDA Accessory Designer of the Year award in 1992. The brand's journey, marked by a split among founders in 1994, continued with Laurie Lynn joining and steering it towards global and digital success. Chrome Hearts maintained an aura of exclusivity, opening flagship stores worldwide but avoiding direct online sales. Its recent mainstream surge, fueled by hip-hop endorsements, led to adaptations, embracing e-commerce and online resale. Despite memes and widespread logo saturation, Chrome Hearts, still owned by the Starks, stands resilient in its commitment to timeless designs, heritage, and non-conformity in the ever-evolving fashion landscape.

Chrome Hearts

Chrome Hearts Richard Stark Photograph

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Issey Miyake Photographs by Irving Penn

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Katsuhiro Otomo for Comme des Garcons DM 24

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A/W 2002 'Virginia Creeper' Catalog

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Cream Spring Edition Issue 04

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Katsuhiro Otomo for Comme des Garcons DM 25

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Visionaire 20: Comme des Garcons

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Last Orgy 2, Special Edition with Translation

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Underman Photo Book

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SIX 1/4

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Guerillazine: No.6 Ideas for Corporate Salvation

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Katsuhiro Otomo for Comme des Garcons DM 17

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Exchange Booklet

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Cream Issue 09

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Under the Cover

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East Meets West

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20 The Exhibition

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Within the midst of 1970's Great Britain emerged a brand that shifted our perception of fashion forever: Seditionaries. Founded by Vivienne Westwood and Malcolm McLaren, Seditionaries masterfully created shock value through its clothing and subverted mainstream values through its products and branding, from shirts adorning the Nazi Swastika to graphic depictions of the Cambridge Rapist and more. The brand catapulted into further notoriety through the Tokyo Sex Pistols, where each member wore its clothing throughout their performances on the world stage. The true impact of Seditionaries stretches far and wide, influencing multiple facets of both mainstream cultures and subcultures in the past, present, and future. 

Seditionaries

Jun Takahashi and Hiroshi Fujiwara Seditionaries Collection Book

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SIX Number 5

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SIX Number 4

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Yohji Yamamoto Memoires

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SIX Number 3

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SIX Number 6

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Universe of Fashion: Comme des Garcons

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Hedi Slimane’s era at Dior Homme from 2000 to 2007 remains a defining chapter in the history of menswear, where the designer's vision crystallized into a series of iconic collections that reshaped the male silhouette. Slimane's razor-sharp tailoring, with its narrow cuts and slender fits, drew heavily from the raw energy of rock and roll and punk subcultures, imbuing Dior Homme with a rebellious spirit tempered by meticulous craftsmanship. The collections often embraced a monochromatic palette, where deep blacks dominated, allowing the textural interplay of leather jackets, skinny ties, and fitted blazers to speak volumes. Models appeared as if sculpted, their bodies encased in garments that seemed both armor-like and second skin, echoing a modern-day elegance that was both stark and sophisticated. Slimane's influence extended far beyond the runway, with his slim silhouette becoming a global phenomenon, the very essence of a new masculinity that was as refined as it was daring. Today, his pieces from this era, particularly the razor-sharp suits and signature leather jackets, are coveted relics—testaments to a moment in fashion that continues to resonate.

Dior Homme

Dior Homme by Hedi Slimane for HUGE Magazine

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Last Orgy 2, Issue 11 with Translation

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Rei Kawakubo and Comme des Garcons

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Last Orgy 2, Issue 12 with Translation

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20471120 is a Japanese fashion brand known for its avant-garde and futuristic designs. Founded by designer Isao Nakagawa in the early 1990s, the brand's name represents a future date, reflecting its commitment to innovation and forward-thinking fashion. The brand is renowned for its experimental approach, often incorporating unconventional materials and bold, eclectic styles that challenge traditional norms. 20471120 has garnered a cult following for its unique and boundary-pushing aesthetic, making a significant impact on the global fashion scene.

20471120

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Aloha Brigade Lookbook

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Walter Van Beirendonck

Mutilate

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Katsuhiro Otomo for Comme des Garcons DM 1

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Katsuhiro Otomo for Comme des Garcons DM 13

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Katsuhiro Otomo for Comme des Garcons DM 14

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Katsuhiro Otomo for Comme des Garcons DM 5

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Undercover behind the scenes for So-En

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Last Orgy 2, Issue 10 with Translation

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Last Orgy 2, Issue 13 with Translation

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“T” Lookbook

"Relief"

Khan Delin

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Inspired by progressive German rock bands such as Popol Vuh and Embryo, Takahashi created these bands as a way to explore how music and fashion intersect. Interested in the parallels of religion and fandom, Takahashi compared his shows to joining a commune. 

“Various people play different parts. Some may be producing music; some may be doing art, or even politics. Within my commune, I decided to create five bands to represent different parts of the commune itself. Together with the five imaginary bands, the clothing in the “T” collection act as traditional tribal costumes for my commune.” - Cream Spring Edition, 2006

Central to the collection was the T-shirt, an article of clothing that he considered most important in fashion. For each band, Takahashi created a series of garments built from the base of a concert merch tee. Spliced with other shirts, hemmed and worn upside down, pieced into the shape of other garments, or turned into skirts, Jun was able to turn a simple pattern into a religious experience.


From its inception as a leather motorcycle riding-gear company in 1988, Richard Stark has transformed Chrome Hearts into a cult-classic brand that churns out handmade jewelry, most notably in sterling silver; apparel, eyewear, luggage and leather goods; and handcrafted furnishings and home items. And let’s not forget all the oddities that exist within the Chrome Hearts world, such as toilet plungers, baseball bats, nail polish, tools, bicycles, and much much more. Three decades later, Chrome Hearts still produce their products in California, and the brand ethos has not significantly shifted. Privately owned by the Stark family, the brand still captures the ‘Fuck You’ essence that existed in the late 80s and early 90s, and their authorized retailer list can still fit on one page. 

The book, Issey Miyake: East Meets West, came out in 1978 and features an impressive contrast of designs influenced by both Eastern and Western cultures. East Meets West was the first ever monograph that was created about the living fashion designer, and its importance is unquestionable. With over 200 pages of full bleed color images featuring some of Issey Miyake’s colorful clothing, the book truthfully depicts the designer’s passion for design, culture, and authenticity. From editorial photos shot by the likes of Noriaki Yokosuka (as covered in our previous post), to the capturing of runway spectacles that combine movement with clothing, it goes without saying that East Meets West immerses you into the fantastic world of Issey Miyake.

Letting Alan and Bê tell their amazing stories. It’s time to give them their flowers.

From Boston to the World: A Conversation With Alan & Bê Bilzerian

An exclusive interview with one of Japan's most obscure designers.

From The Runway To The Roadway: Interview with Shinichiro Arakawa

Exploring Raf Simons’ early furniture designs, revealing a forgotten chapter before his fashion career.

Raf Simons Corpo: Revealing the Furniture that Came Before the Clothing, Part 1

In ’90s Japanese street-style, few brands compare in omnipresence to Takao Yamashita’s beauty:beast.

Takao Yamashita: Entering The Belly Of The beauty:beast

Explore Raf Simons' 'Corpo' collection, a series of seven unique furniture pieces inspired by human anatomy.

Raf Simons Corpo: Revealing the Furniture that Came Before the Clothing, Part 2

Riviere Fougy

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An exhibition at MoMu displays a retrospective of Jan-Jan Van Essche's work through a presentation of his S/S '25 collection. 

A Retrospective Present: Jan-Jan Van Essche's "Khayal"

When people hear the name ‘Comme des Garcons’, a wide variety of images and feelings pop up, proving that the Japanese brand has created an aesthetic universe of its own. This masterful execution of fashion world building couldn't have been fully expanded upon without the catalyst that was the SIX Magazine. Created in 1988, SIX served as a breeding ground for experimental branding with a small twist: the branding rarely (if ever) involved Comme des Garcons’ own clothing. Instead of falling back on conventional methods of fashion advertising, the bi-annual publication incorporated non fashion related artwork and photography to convey the Japanese brand’s collections. SIX also tapped into a wide array of creatives who sometimes weren’t even involved in the industry, and yet this is exactly what gave fashion a breath of fresh air. Not only did SIX solidify Comme des Garcons as an entire entity of its own, it also changed our own perception of fashion to this very day.


Although his first collection was released in Japan in 1977, it wasn’t until the mid 80’s and 90’s that Yohji Yamamoto became an influential name in the world of fashion. Photographer David Sims shot these impressive images for Yamamoto’s Autumn/Winter 1995 lookbook, one of the designer’s more symbolic collections from the 90’s. The use of flat color of the simple backdrops really allows the sparse color and details of the pieces to stand out. These bright images are mixed with black and white photos and still lifes that contribute to the overall artistic style of the book. This is an impressive selection of images that shows us one of Yohji’s collections from the height of his career and influence in the 1990’s.

Though many passionate followers of Undercover would say that its greatest collection to date is SS2003 ‘SCAB,’ a select few would state otherwise. During the winter of 2005 Undercover presented ‘T,’ an esoteric collection that incorporated the concept of deconstruction and reconstruction. From the religious symbology on the runway to the designs of fictional German bands under the equally fictional record label ‘Undercover Records,’ many found 'T' to rival the likes Undercover’s earlier collections by a long shot. Many found it to be reminiscent of Maison Martin Margiela’s work; this is not a surprise given that Jun Takahashi was influenced by Martin himself as well as Rei Kawakubo of Comme des Garçons. In commemoration of this collection, the Cream Spring Edition book was released solely through Undercover’s Hong Kong store. It features backstage photography of the construction of the collection, sketches of the various clothes and designs by Jun Takahashi, photos of the runway, various interviews from both Jun and Undercover staff, and more. This combination of aesthetics and valuable information only brings its reader deeper into the world of Undercover and 'T'.

Japanese cultural icon Hiroshi Fujiwara and Jun Takahashi of Undercover have created this publication as an ode to Seditionaries. With Fujiwara working under Westwood and McLaren during the 80s and Takahashi being the lead singer of the Tokyo Sex Pistols, it comes as no surprise that Seditionaries would impact both individuals’ achievements at a profound level. The clothing featured were collected by both individuals since the mid 80s to early 90s, each carefully preserved and cherished over the course of decades. With the publication amassing over 350 items, this Seditionaires collection stands the test of time, giving birth to both new fashion enthusiasts and designers around the world.

Designer Issey Miyake and photographer Irving Penn first met in New York City in the 80’s. Penn and Miyake kicked it off and eventually Irving Penn flew to Japan to photograph the early days of Miyake’s Design Studio. Penn was able to view the behind the scenes of Miyake’s experimenting with his process of creating the pleats for “Pleats Please!”. The book shows some of Miyake’s most famous pieces in beautiful detail photographed on clean white backdrops with bright light to capture the pleat pattern. The models all were draped in garments of bright colors and intricate patterns and pose in an almost theatrical manner. During this time in the 80’s Miyake had been working with several ballets and theatre plays doing costume design. As a child he also had always wanted to be a dancer so we continue to see these performance arts inspiring Miyake with further collections. The photos were used as advertisements for Issey Miyake, they also made this limited run book of the stunning photographs the two artists collaborated on in the 80’s.

In the midst of the 1990s, the world bore witness to a force to be reckoned with: Japan’s Urahara Streetwear Movement. The movement was a positive feedback loop between all of Tokyo’s underground creatives - look no further than the likes of Tetsu Nishiyama of WTAPS, legendary graphic designer Sk8thing, and Hikaru of Bounty Hunter, all of whom began their respective journeys in the same cultural melting pot. But of course, the Urahara Movement can’t be discussed without mentioning the impact of magazine segment ‘Last Orgy.’

Created by legendary Japanese Hip-Hop duo Tiny Panx, Last Orgy gained the reputation for being a taste-making phenomenon. Tiny Panx eventually distanced themselves from their creation, passing the torch to two newcomers to the scene: Jun Takahashi of Undercover and NIGO of A Bathing Ape. Both in their mid-20s, the infamous streetwear tag team continued Last Orgy’s legacy of curation and taste making through ‘Last Orgy 2’, from showcasing covetable items to news from the underground scene and more. Last Orgy 2 was a source that, to all involved, was the pinnacle of creative hope for years to come.

Made possible by donations from several fashion enthusiasts in the community, this issue of Last Orgy 2 has now been fully translated. Those who have a curiosity for pre-internet streetwear memorabilia now have the chance to delve even deeper.


Jun Takahashi has always been known as an innovative designer who loves referencing history, culture, and his own personal life in his works. This particular 2011 season is yet another example of this endeavor, as depicted in the 2011 'UNDERMAN' Photo Book. The SS2011 Undercover collection titled 'UNDERMAN' features a fictional hero in the year 20XX who restores lost souls incapacitated by the forces of evil. With the story and costume design by Takahashi and photography by Katsuhide Morimoto, Underman was Takahashi's portrayal of Japanese superheroes through fashion. Besides the extensive clothing collection, Takahashi also created a lookbook using a booklet binder of trading cards and a set of miniature figurines in collaboration with Medicom Toy.

From interviews with Martin Margiela himself to photos of avant-garde creations made of recycled objects, the designer's pandora box of creativity flows freely in Cream Issue 09, with his uninhibited creativity being on full display.


Though the brand has been recognized in recent times for it’s hyped pieces and references to music, Number (N)ine remains shrouded in mystery. Unlike many 'Archive Fashion' brands, where information regarding their history/philosophy is relatively available, N(N) has yet to be fully dissected. This book, ‘Book White The Last Volume,’ is one of many steps in unveiling its mystery. Coming to a total of nearly 900 pages, Book White takes us into the aesthetic nature of Number (N)ine’s SS02 Collection ‘Modern Age,’ as well as the cult brand’s true colors. As stated by N(N) founder Takahiro Miyashita, the brand is depression/sadness in the form of clothing, and this becomes evermore apparent through the book’s depiction of the collection. Although Book White is meant to be read in physical form via the rapid turning of pages, the content included is priceless nonetheless and is vital for any N(N) enthusiast and curious individual alike.

Book White The Last Volume

The Number (N)ine Smart Magazine special, published by Takarajimasha on September 15, 2005, is the quintessential guide for Number (N)ine’s AW2005 collection, 'The High Streets.' It includes photoshoots, interviews, an item catalog, and a retrospective of the brand from SS2001 to AW2005. When most people think of this collection, an image of the infamous hybrid cargo pants conjures up in their minds, and while it is definitely a hallmark of the season, there is more to it that often gets overlooked.

The season as a whole is a hybridization of Native American and grunge culture. There are some items that have an obvious influence, such as the furs, feathers, and fringe that decorate many of the outfits. The grunge garments are flannels, jeans, and Cobain style sunglasses. It may sound all over the place, but the photoshoots present in the magazine show how well these themes work together. The catalog gives a glimpse at the retail prices for the season, ranging from around $400 to $4000.

A fun fact about this book is that it also came with an appendix that included two pins and a rubber ring, each bearing The High Streets insignia.

The yearly lookbooks that are released are most pertinent to understanding the unique way Kapital approaches the world - acting as a visual language of the philosophy of Kapital. They produce these with full creative control with often little change to the core team, adhering to guidelines set only by themselves with seemingly no limitation. This in itself seems to defy the way we collectively approach the fashion process, to remain true and unique at all costs. They have and continue to participate in eccentric defiance. 

Denim Monster 2 Lookbook

In 2014, QUOTATION Magazine celebrated Undercover with a special edition showcasing the brand’s legacy. The issue features an exclusive interview with Jun Takahashi, a comprehensive retrospective of Undercover’s collections from 1994 to 2014, a compilation of insights from the brand’s friends and collaborators, and more.

This Spring/Summer 1996 collection from Undercover, easily named 'Under The Cover', welcomes us into the young creative mind of budding designer Jun Takahashi. The book was created along with the collection and gives us a brief look at drawings Takahashi had made in order to design and produce the garments. He used monster-type figures you would see in horror movies as models for the collection. The book shows us behind the scenes photos as well as detailing how the masks and characters were created. The cenobyte-type figures seem as if they are trapped in some colorful prison or hospital and all wore clothing that matched the design of their complex features. The color blocking walls surrounded the figures, sometimes posed with objects and small environments, as if each were in their own cell. 

Number (N)ine still exists today, however the soul and spark of the brand is long gone, with Takahiro Miyashita having left Number (N)ine following the presentation of “A CLOSED FEELING” in 2009. This leaving of Number (N)ine marked for many the end of Takahiro Miyashita’s brainchild. In this rare feature, translated with the help of the ARCHIVE.pdf community, the designer talks about his life, his early youth, hooliganism, and even his deeply held feelings of sadness. This feature also contain interviews with those close to Miyashita, as well as and quotes from designers, along with the design team. This booklet seems to act as a swan song, marking the end of this period of Miyashita’s life, and allowing closure while still providing comfort and reflection towards the beautiful legacy he left at Number (N)ine. While quite somber and at times saddening, the feature ends on a rather mixed note, with the writer encouraging Miyashita to “KEEP BURNING” rather than too merely fade away.

In 2015, Undercover designer Jun Takahashi launched a retrospective exhibition in commemoration of his brand’s 25th anniversary. The exhibition went into great detail on the cult brand’s history and designs, from the early days being stocked in Ura-Harajuku’s NOWHERE store, to an expansive selection of runway looks and designs surrounding the brand’s unique vision. Labyrinth of Undercover was released alongside this exhibition, featuring select looks from all of Undercover’s runway shows, from 1994 to 2015. In addition to the runway looks is also a full list of collections with descriptions of the corresponding themes and meanings. The book eloquently serves as a time capsule through which readers can grasp a substantial understanding of the cult brand's legacy from the 90s to the modern day.

This Universe of Fashion book was released in 1998 under Rei Kawakubo’s Comme des Garcons label and features iconic advertisements and photographs used in CDG's Direct Mail ads. As described in the short article from Universe of Fashion, Rei Kawakubo is an honest and sincere designer, and enjoys working and collaborating with creatives and artists of all types. She loves experimenting with other artists including photographers, graphic designers, architects, and even floral artists. After looking through some of the Direct Mail ads, it is clear that Kawakubo really enjoys the process of working alongside other people and how she can trust other artists with her vision. Universe of Fashion also explains her interest in photography and color, both of which have directly impacted the clothing she makes and the imagery she puts out to represent her brand Comme Des Garçcons.

The setting of the lookbook is desolate yet refreshing, reminiscent of the countryside farm, yet is juxtaposed with modern architectural objects. Combined with masterful styling and flamboyant modeling, the lookbook in its entirety practically mirrors the aesthetics of the Wizard of Oz and Alice in Wonderland.

NEO TOKYO IS ABOUT TO EXPLODE. This instantly recognizable phrase is from one of the anime industry’s most iconic films, Akira by Katsuhiro Otomo. From the movie’s explosion in popularity to its dedicated cult following, Otomo became increasingly known for his range of enigmatic creations. As such, it came as no surprise that Rei Kawakubo would collaborate with him for Comme des Garcons’ Spring/Summer 2013 Campaign. The artwork from the campaign features characters, scenes and manga pages from Akira, and are seamlessly combined with Otomo’s more standalone art pieces. This collage of imagery results in the form of familiar yet alien pieces of works, drawing parallels with CDG’s deconstructed and raw clothing of the 80’s. The collaboration has proven to stand the test of time, with the collaboration’s prints and items still being sought after to this very day.

Released in very limited amounts in 1997, Comme des Garcons Visionnaire 20 was a rare peek back into the archives of Rei Kawakubo and Comme des Garcons. The book itself was highly limited, with only 2,800 copies being produced, and each one being hand numbered. What's contained within the pages of this book is more interesting than its limited nature.

Rather than merely having Kawakubo and her label's staff put together outfits, she decided to let other visionaries such as Karl Lagerfeld, Alexander McQueen, and Nick Knight each put together looks for the book. By digging through CDG archives stretching back as far as 1982, each creator had a wide array of garments to choose from. What resulted from this meeting of creative minds is nothing short of genius, with each participant producing radically different images. Ranging from metal restraints, to the streets of Hong Kong, the outfits fused the avant-garde works of CDG with a wide variety of fashion philosophies and settings. The looks themselves are marvelous, with some being glitzy and glamorous, while others toyed with darker themes. The book itself is now considered a collectors item, with prices ranging anywhere from 1,000-2,000 USD.

CDG and by extension Kawakubo are best known for their avant-garde works, which range all the way from deconstructed garments to fragrances. The theme that has tied decades of her and CDGs’ work together has been the commitment to being unflinchingly artistic. In this book, she let artists take her work out of this context, and create something new out of her existing ideas, in a quite rare move for Kawakubo. The outfits featured in the book mainly show the stylist’s idea of fashion, but like darkness creeping across the land, Kawakubo's influence shadows and lords over all of it.

"As for 'RELIEF' I took a cue from friction marks of old clothes. I worked on the proposition whether shading can cover all the details in design. I first sewed a collar, patch pockets and buttons on the bodice, then tucked silicon parts under the textile and after repeating dyeing and bleaching, I put the collar back into its original position and took off the pockets as well as buttons, transforming the imprints produced by the color fading and friction marks into design details. The results were dresses with no details at all but conceptual. The hair and makeup of the models were also expressed only by shading, thus I single-mindedly stuck around the world of monochrome. I only added pink on a tie of the last look, taking a hint from the director Akira Kurosawa’s film “High and Low.” The more interesting development might be possible if I challenged now once again, but the collection can be classified as superior in terms of perfection of that time." (Excerpt from Undercover 25th Anniversary Special Edition of Quotation Magazine)