Ivy in Japan: A Regalia of Non-Conformity and Privilege

Monden, M

Ivy in Japan: A Regalia of Non-Conformity and Privilege

Monden, M

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Publisher:: Yale University Press
Publication Type:: Chapter
Citation:: Ivy Style: Radical Conformists, 2012, 1, pp. 175 - 185
Issue Date:: 2012-01

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Field	Value	Language
dc.contributor.author	Monden, M https://orcid.org/0000-0001-5672-5279	en_US
dc.contributor.editor	Mears, P	en_US
dc.date.issued	2012-01	en_US
dc.identifier.citation	Ivy Style: Radical Conformists, 2012, 1, pp. 175 - 185	en_US
dc.identifier.isbn	978-0-300-17055-9	en_US
dc.identifier.uri	http://hdl.handle.net/10453/23207
dc.description.abstract	The history of Japanese 'Ivy style' is said to have begun with Kensuke Ishizu who was the 'architect' of Take Ivy, and a kind of Japanese version of Ralph Lauren. He founded the Ivy League-inspired clothing brand company VAN JACKET in 1951. Until the 1990s, the styles that resemble the 'Ivy-league style' made an almost continual appearance in Japan. The 'Ivy style', and similar styles with names such as 'school', 'preppy' and 'trad', are popular today, particularly for those who appreciate the neat and conservative styles (kireime) and high-casual styles. This modern day revival of the 'Ivy style' was particularly marked since 2007 where the aesthetics of the 'Ivy style' were blended with other styles and engendered a number of similar styles with a subtle nuance. The Japanese version of the 'Ivy-league' style is a good example of a global crossing. A cultural form is accepted in a different cultural context, blended with 'local' characteristics, and then flows out again in multiple directions. Indeed, what is striking about the Japanese embracing of the 'Ivy style' is not only its 'preservation' of the style when such styles were perceived as dÃ©modÃ© in the United States, but also its demonstration of subtly nuanced changes and transformations. Japanese adaption and appropriation of the 'Ivy-league' style, I argue, tells a cultural process where an 'American' clothing styles are blended with 'Japanese' aesthetic ideals and preferences. This cultural mÃ©lange has in turn been re-imported to the United States, making new meanings and new markets for this now perennial style.	en_US
dc.publisher	Yale University Press	en_US
dc.relation.ispartof	Ivy Style: Radical Conformists	en_US
dc.title	Ivy in Japan: A Regalia of Non-Conformity and Privilege	en_US
dc.type	Chapter
utslib.location	New Haven and London	en_US
utslib.for	1203 Design Practice and Management	en_US
utslib.citation.edition	1	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building/School of Design
utslib.copyright.status	closed_access
pubs.consider-herdc	true	en_US
pubs.edition	1	en_US
pubs.place-of-publication	New Haven and London	en_US

Abstract:

The history of Japanese 'Ivy style' is said to have begun with Kensuke Ishizu who was the 'architect' of Take Ivy, and a kind of Japanese version of Ralph Lauren. He founded the Ivy League-inspired clothing brand company VAN JACKET in 1951. Until the 1990s, the styles that resemble the 'Ivy-league style' made an almost continual appearance in Japan. The 'Ivy style', and similar styles with names such as 'school', 'preppy' and 'trad', are popular today, particularly for those who appreciate the neat and conservative styles (kireime) and high-casual styles. This modern day revival of the 'Ivy style' was particularly marked since 2007 where the aesthetics of the 'Ivy style' were blended with other styles and engendered a number of similar styles with a subtle nuance. The Japanese version of the 'Ivy-league' style is a good example of a global crossing. A cultural form is accepted in a different cultural context, blended with 'local' characteristics, and then flows out again in multiple directions. Indeed, what is striking about the Japanese embracing of the 'Ivy style' is not only its 'preservation' of the style when such styles were perceived as dÃ©modÃ© in the United States, but also its demonstration of subtly nuanced changes and transformations. Japanese adaption and appropriation of the 'Ivy-league' style, I argue, tells a cultural process where an 'American' clothing styles are blended with 'Japanese' aesthetic ideals and preferences. This cultural mÃ©lange has in turn been re-imported to the United States, making new meanings and new markets for this now perennial style.

Please use this identifier to cite or link to this item:

http://hdl.handle.net/10453/23207