Wednesday, December 28, 2016

Debbie Reynolds on Elizabeth Taylor Stole Her Husband

 Before there was Alexis and Krystle.....
 Before there was Angelina Jolie and Jennifer Anniston....
There was Elizabeth and Debbie.....
 Debbie Reynolds Opens Up About Time Elizabeth Taylor Stole Her Husband
Debbie Reynolds was married to her first husband Eddie Fisher until their divorce in 1959. But it wasn't the cleanest of splits as the singer left Reynolds for his next wife, Elizabeth Taylor, that same year.
Reynolds, who had two children -- Carrie and Todd Fisher -- with her late ex, opened up about her relationship with Taylor before and after she stole Eddie more than five decades ago.
Eddie died at the age of 82 in 2010. 
"We were friends for years and years," Reynolds told People magazine. "but we had a lapse of time when she took Eddie to live with her because she liked him, too. She liked him well enough to take him without an invitation!"
Reynolds said before that time period in the early 1960s, she and Taylor were close and their relationship as friends began when the two went to school together at MGM. 
"I went to MGM when I was around 17, and Liz was there too, but she was already a star," the "Susan Slept Here" star, 82, added. "We went to school together on the lot, when she was in between films. I was just a beginner, and she and I were not in any manner alike, but we got along very well because I was in awe of going to school with Elizabeth Taylor."
Reynolds and Taylor eventually got over the scandal before the icon died in 2011. 
"Elizabeth and I went on a cruise ship and we were on the same boat ... she sent a note to me and I sent a note to her to say 'Let's just forget about it,'" Reynolds told Access Hollywood  in 2013 of when they finally buried the ax, sometime in the late 1960's or early 1970's. 
"She was married to Richard Burton  [at the time after she left Eddie in 1964] and I was married to Harry Karl [whom she was married to from 1960 to 1973], who was in the shoe business. We just spent the whole cruise ship -- on the Queen Elizabeth -- so we had to have a get together." 

Debbie Reynolds dead at 84!


Debbie Reynolds dead, actress once known as "America's Sweetheart" was 84!

 Debbie Reynolds, known in the 1950s as “America’s Sweetheart” and later as a show biz trooper and “triple threat” dancer, singer and actress, died Wednesday, one day after her own daughter’s death. She was 84.


Her son, Todd Fisher, said Reynolds died Wednesday, a day after her daughter, Carrie Fisher who was 60.
“She’s now with Carrie and we’re all heartbroken,” Fisher said from Cedars-Sinai Medical Center, where his mother was taken by ambulance earlier Wednesday. 

Reynolds had a long career in Hollywood that spanned over four decades, with her first starring role in “Singin’ in the Rain” at age 19. She starred in dozens of films in the 1950s and ‘60s, and eventually had her own short-lived sitcom, “The Debbie Reynolds Show.” 
Her personal life, though, also dominated headlines -- her highly-publicized breakup in 1958 with husband Eddie Fisher (who left for her for Elizabeth Taylor) has been called the Pitt/Aniston/Jolie scandal of its time. And later in life, her daughter frequently wrote about their lives, with Reynolds saying in a 2010 interview that “there is nothing [Carrie] keeps to herself.”  
She was born Mary Frances Reynolds in El Paso, Texas – giving her the languid drawl that would help define her image as the ideal American wife. Reynolds moved to Burbank at age 7, where she was a model Girl Scout. At age 16, she entered a Miss Burbank beauty pageant contest to win a free blouse and skirt, and won – which landed her a contract with the Warner Brothers for $65 a week. 
Reynolds landed the starring role in “Singin’ in the Rain” without any formal dance training – and opposite dancing legend Gene Kelly, who was 20 years her senior. She told CBS Sunday Morning in 2013 that they danced for “10, 12 hours every day – there were no days off.”  

As she old CBS News’ Mo Rocca in 2013, her “heart hurt” as she wondered if she could keep up. “Could you keep up? Were you going to fail?” Reynolds described how she felt. “And Gene Kelly kind of scared me, because he was the boss, and he was brilliant, and he was a wonderful teacher. He had to teach me. And to be given a little kitty cat, and expect it to be a lion, it didn’t happen overnight. I had to work, work, work without question.”
Similar to her character Kathy Selden, “Singin’ in the Rain” propelled Reynolds to Hollywood stardom. She appeared in over a dozen films in the 1950s -- including “The Tender Trap” and “Tammy and the Bachelor”-- and her personal life also dominated headlines. She married singer Eddie Fisher in 1955, with daughter Carrie born in 1956 and son Todd followed in 1958. The family had become bona fide Hollywood royalty.
But it was short-lived. Reynolds had been longtime friends with Hollywood siren, Elizabeth Taylor. Reynolds described the early days of their friendship to CBS Sunday Morning, saying “”Elizabeth was really a gal, you know? She was a dame… She was funny. She was really a bawdy broad. And I loved being with her. We had a lot of fun together.”
Reynolds and Fisher were close friends with actress Taylor and her husband, Mike Todd, and Fisher rushed to Taylor’s side when Todd died in a plane crash. Fisher eventually left Reynolds, and the breakup was front-page news --Reynolds beoming the public face of the wronged wife.
 Taylor and Fisher married, but the marriage ended in divorce in 1964, after Taylor had an affair with actor Richard Burton. Reynolds said she had predicted that breakup. 
“’You’ll last a year and a half,’” she said she told Fisher. “’And she’ll throw you out as soon as she meets somebody really funny.’  … Elizabeth liked men that were really terrifically funny. He laughed -- of course, he thought it was not true. I said to him, you know, ‘It’s just ridiculous, can’t break up a marriage for this affair you’re having with Elizabeth because she’s never going to keep you there with her, because you’re not enough for her. You’re just not enough.’ 
He laughed -- of course, he thought it was not true. But he found out when she threw him out that it WAS true. She DID throw him out.”
Reynolds, though, eventually forgave Taylor and wrote in her memoir that “In the long run, Elizabeth did me a favor.”
“She had her good side,” Reynolds has said of Taylor. “At least once she got over her sex drive.”  
Reynolds rebounded from the breakup, starring in over a dozen films in the 1960s, including “The Singing Nun,” “How the West Was Won” and “The Unsinkable Molly Brown.” She headlined her own sitcom, “The Debbie Reynolds Show,” but it only lasted one season.
Her personal life, though, was still in turmoil. She married shoe designer Harry Karl in 1960 and then real-estate developer Richard Hamlett in 1984. Both ended in divorce, and both left her financially ruined.
After the 1996 breakup with Hamlett, she was forced to auction off her vast Hollywood memorabilia, including Laurel and Hardy’s car, a restored chariot from “Ben Hur” and a guitar from “The Sound of Music.” 
In 2000, Debbie said that she “won’t even date … I can’t afford it.”
Reynolds continued acting through the 2000s, including a recurring role on “Will and Grace” and the award-winning HBO film “Behind the Candelabra.”
Although her daughter’s semi-autobiographical book “Postcards from the Edge” seemed to portray a fraught relationship between Reynolds and her daughter, Carrie Fisher told The New York Times in 2010 that she “loved being her daughter.” Reynolds eventually bought a house that shared a driveway with Carrie Fisher.
Reynolds’ granddaughter, Billie Lourd, is also an actress.
Carrie Fisher, who openly spoke about her struggles with mental illness, wrote that her mother 
taught her how to “sur-thrive.”
“You know, I’m not a person that cries a lot,” Reynolds told CBS Sunday Morning in 2013. “The only reason that I get emotional is, it’s so wonderful that I can’t believe that I have this life and live in this country so great, that I always well up. You know, there’s a huge feeling inside that just pops forward.
“What is it people say? I cry at a good steak. Well, I don’t cry at a good steak. But I sure do cry for all the lucky things I’ve had happen to me.”

12 Style Lessons We Can Learn from the Italians If you can't beat them, copy them.
The Brits have funny teeth, the French have berets and baguettes, and the Dutch have their penchant for short-sleeved shirts and pulled-up white socks.
Every nation comes with its own lazy stereotypes attached, but for one country, the cliches aren't all that bad. Virile and invariably well-dressed, Italian men are probably the most stylish bunch out there (sorry, Spain). Here, fresh from Pitti Uomo in Florence and men's fashion week in Milan, we dissect the 12 key style lessons we can learn from our natty cousins across the Atlantic.
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1 | It's possible to look good in a vest
The mistake most men make when sporting a padded vest is to think of it as an outer layer. The trick, as the Italians understand, is to treat it as an inner sheath—an insulating layer worn over your shirt and beneath your jacket. Opt for something close-cut in a neutral shade, choose a matte fabric (never, ever "North Face-shiny"), and team with an open-neck white shirt, a deconstructed Brunello Cucinelli blazer, and a pair of slim-cut washed jeans for a relaxed, long-weekend-in-Rome look.
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2 | Never take off your sunglasses. Ever.
If there's one thing the Italians know, it's that everyone looks better in a pair of sunglasses, even when it's raining... or when it's dark. Follow their lead and never take yours off—just make sure you find the right pair for your face. If you've got a round jaw, opt for a square or rectangular frame. Square jaw? Round frame. Unsure about the dimensons of your face? Choose an aviator. An aviator suits everyone, as the Italians well know.
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3 | Investing in high quality clothing will always pay dividends.
No country boasts a higher proportion of well-dressed billionaires than Italy. Just look at Patrizio Bertelli of Prada, Giorgio Armani, or Diego Della Valle of Tod's. All of them are incredibly wealthy and all extraordinarily stylish. Dress like these men and you'll be on your way to your first million in no time. Promise.
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4 | An espresso and a cigarette is the only way to breakfast.
How do you think Italian men manage to fit into their size 36 suits and super-slim jeans? (And how do you reckon they look so good in street style shots?) It's all about an espresso and a smoke first thing in the morning.
5 | Texture is key.
If there's one thing that Italian men understand, it's that details matter. Instead of wearing a matte poplin shirt with a flat mohair suit, a stylish Italian will play with texture and wear a soft cotton jersey shirt with a deconstructed houndstooth cashmere blazer and a boiled wool overcoat. Contrast in texture is the key to a successful outfit.
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6 | Sprezzatura is the only Italian you need to know.
In addition to ciao, and maybe pronto (mainly because it sounds cool), the most important Italian word you should have in your vocabulary is sprezzatura. Translating to "studied carelessness," the term perfectly encapsulates the stylish Italian man's way of dressing. Your clothes should look as if they've been thrown on without a thought (even if you've spent four hours in front of the mirror deciding which trouser length works best with your loafers). Just remember: looking effortless is a balancing act. If you're verging on peacockery, you're doing it wrong.
7 | Men can also wear color.
Visit any major city in Italy and you'll notice that the men wear as much color as the women. The key is to choose washed-out, soft shades. A dusty pink sweater with a soft blue blazer and cream chinos, for instance; or a brighter blue suit with a white shirt and indigo overcoat. Pick one slightly bolder shade and team with more traditional colors to keep things from getting out of hand.
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8 | Embrace your hair while you've got it.
More often than not blessed with thick waves of dark, coarse hair, Italian men know better than to clip it all off before its time. Make like them and embrace your hair while you've still got it—the likelihood is it won't be around forever.
9 | Structure isn't everything.
Though the Savile Row tradition of super-structured tailoring still has its place, the Italian look—softer and more closely cut to the body—has never felt more relevant. The masters of Italian tailoring—see Giorgio Armani, Brunello Cucinelli, Kiton, Corneliani, and Ermenegildo Zegna—all embrace a softer cut, and so too should you. Opt for a suit with a deconstucted shoulder, a half-lining (or no lining at all), and a tapered trouser.
10 | Layering is your friend.
Just as texture is important, so too is creating a sense of depth with clever layering. Italian men won't think twice about wearing a classic shirt beneath a knitted overshirt, beneath a vest, beneath a blazer, beneath an overcoat—and neither should you.
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11 | Don't think of your swim trunks as underwear.
Perhaps its because we don't see the sun as often as our Italian counterparts, but we tend not to take care of our swimwear. If you think of your trunks in the same way as you do your boxer shorts (a boring everyday essential which no one is ever likely to see), you're going to look terrible on the beach. Instead, do as the Romans (and Florentines, and Neapolitans) do, and treat your swimming trunks with as much care as you would your suit. Your fellow sunbathers will thank you.
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12 | Embrace the power of a perfect pose. 
Look at any street style shot from Florence or Milan and you'll notice that not only are Italian men immaculately dressed, they also have posing down pat. The imperceptible turn of a foot, the artfully placed hand on a knee—never have an entire people been so ready for their close up.
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Top 5 Most Expensive Pairs of Men's Underwear
At the Comfortable Boxers Company, we pride ourselves on our affordability. That got us thinking: What ridiculously expensive underwear is out there? Why is it so expensive? Is it worth the price?
So we’ve compiled a list of the top 5 most expensive men’s underwear. These are five pairs that start at $60 and catapult to a tear-inducing $165. From Swiss cotton to Italian silk, these undies run the gamut.
But are they worth it? Let’s find out.
  1.   Tani Boxer Briefs($60)
Tani claims that their underwear sets a new standard, aiming for “sophistication through simplicity.” They’re targeting the posh crowd with their boxer brief that’s as Swiss as Helvetica, IKEA, and meatballs.While these are the least expensive pair on the list, we think it’s still ridiculous to drop six Hamiltons on one pair of underwear.
The Swisstouch is made of 92% Swiss cotton, but even if it was made in Switzerland, it’s still cotton,Which isn't nearly as comfy as modal. (Tip: For $60, you could snag 4 pairs of the flagship boxer briefs.  You’d even get free shipping! However, there’s nothing peculiarly Swiss about them.)
  1.   Frigo No. 1 Exclusive Boxer Briefs($100)
The ad copy for Frigo No. 1 Exclusive Boxer Briefs claims that the future of underwear is here. In addition to the “state-of-the-art fabrication” and “Coolmax wicking,” the briefs have a “next-generation waistband,” whatever that means.
While it sounds like a space-age discovery, the actual specs are old hat. Made prominently of nylon, the boxer briefs don’t offer anything revolutionary. They’re advertised primarily as an athletic garment––maybe Derrick Rose could afford a pair (see #1).
  1. Oakley Carbon-X Underwear($135)
Warning: These underwear aren’t for the faint of heart. They can withstand the heat of a 2000ยบ blow torch without getting hurt, and they’re worn by NASCAR drivers. At a jaw-dropping $135, it’s no wonder these underwear double as firefighters for your sensitive parts. (We know, we know, they’re long bottoms, but they’re still underwear.)
The Carbon-X underwear is a good idea––if you’re planning to go running through fire in nothing but your skivvies. While the idea is good, it doesn’t apply to casual wear. So unless you’re afraid of your rump melting, go with a cheaper pair.
  1.   Versace Barocco Animalier Brief ($150)
It’s no surprise that the second most expensive underwear on this list comes from fashion behemoth Versace. Unlike the ad copy for Frigo boxer briefs, Versace’s description is barebones. The underwear features a Greca Medusa detail, elasticated waistband, and Barocco Animalier print.
While the brief may conjure up images of ancient philosophers and brave Grecian warriors, its price tag conjures up images of an empty wallet. It’s not even made of hand-raised spider silk; it’s made of viscose, a type of rayon.
All in all, the Barocco Animalier doesn’t live up to its name (whatever its name means). At least there’s complimentary ground shipping.
  1. Derek Rose Bailey Pure Silk Classic Boxers  ($165)
Derek Rose (not to be confused with Bulls point-guard Derrick Rose) is one of the most expensive luxury brands of men’s underwear. Their Bailey boxers are made of “Italian pure silk” and cost a painful $165. And that’s without tax!
For that price, you’d assume an 80-year-old Italian tailor crafts these by hand in his Venetian villa and delivers them to your door. (Sadly, there’s no evidence to support this.) While silk is one of the most luxurious fabrics, we have a hard time accepting the hefty price tag.
The sales page doesn’t even boast any unique qualities; instead, they claim the boxers are the epitome of sophistication. You’re better off wearing a bowtie and speaking in a British accent.
 MY advice? Instead of choosing ridiculously expensive, choose ridiculously comfortable.

How Japan Beat America At Its Own Style Game
An interview with author W. David Marx, whose new book outlines the rich, complex, and straight-up wacky history of Japan's relationship with American style
Right now, the men's fashion scene is a diverse zone of awesomeness. Labels from around the world create new spins on classic menswear, or forward-thinking designers just invent new visions of what men can and should wear. And one place in the world that's definitely happening right now is Japan. The country hosts some of the most cutting-edge labels and ones that produce the most traditional menswear pieces. But for much of its sartorial history, the way Japanese men dressed was set by what Americans had worn years prior.
From perfect replicas of military jackets to denim made on old-school shuttle looms, the men's style scene in Japan was, at one point, a time capsule of classic Americana. But what caused that shift post-WWII? And how did it come to be that Japan often produces better versions of distinctly American designs (see: the bomber jacket, all forms of denim) than we do? A new book, titled Ametora: How Japan Saved American Style, answers these questions while unpacking this fascinating relationship between these two far-flung cultures. We spoke to the book's author, W. David Marx, about the early days of Japan's fetishization of Americana style, its influence on modern-day streetwear culture, and how Japanese and American men's fashion magazines (like, say, GQ) are still worlds apart. 
Let's start with the title. What is Ametora?
The word “Ametora” means “American traditional” and started in the ’80s in Japan. But it generally means American East Coast, classic, elite clothing. It’s a combination of Ivy style as well as British items like fisherman's sweaters. It’s anything you’d see on East Coast campuses in the U.S. But I kind of want to reframe the word in this context of, anytime a Japanese product or brand makes American clothing or makes something new, it becomes Ametora. The word “tradition” is too linked to just East Coast style, but now things like hip-hop style and California surfer style are also in some way traditional American style.
In the book, you introduce [the book] Take Ivy as one of the first major influences on Japanese style.
Ivy started it. And you’re starting from scratch. At the time, Japan wasn’t getting much influence from America, because it was so closed off to the world. After [World War II], you couldn’t go overseas very easily for about 20 years, until around 1964. And even then, it was super expensive until the late ’80s. Take Ivy was one of the first books that brought American style to Japan. After that, the commercial world started picking up on hippie style and outdoor style, but Ivy is really where the system starts, and I think that’s why Ivy League style has become so venerated. It’s not just a certain style of the ’60s, but it was the start of the men’s style in Japan.
I think a common perception is that Japanese men, post–World War II, simply wanted to dress like Americans they saw, but your book says it’s not that clear-cut.
There were tons of American soldiers in Japan from about 1945 to 1950, but they were always in uniform, and that made an impact on people, but it wasn’t something that could be easily replicated. Jeans were showing up in certain markets, but they were incredibly expensive. So even if you thought Americans were cool, it was really hard to dress like them. It wasn’t until the 1960s that Japanese brands started making versions of everyday American clothing. But until Japanese brands made the products themselves, and put them in a Japanese context like magazines with Japanese models, did those clothes really pick up.
The book also seems to reframe the relationship between American and Japanese style less as a one-way influence, but more as a dialogue. Is that right?
I would actually say that until recently it wasn’t a dialogue. It was mostly one way in the sense that Japan got very into it, and when Americans would see that Japanese men were into it, they would get a little weirded out. The clearest example of this is in the 1980s movie Mystery Train. The first part has these Japanese kids wearing all of these Teddy Boy clothes, and they come to Memphis and they want to see the glory of Rock ‘n’ Roll Memphis and are disappointed when it’s not what they expected. And the movie kind of makes fun of that, but Americans have always been uncomfortable because they think it feels forced. I think a lot of Americans were dismissive of it because they thought Japanese men didn’t understand it. But around eight years ago, with the rise of menswear blogs, American men started to include these versions of American gear, and it became a dialogue. And often now, Japanese brands might not be considered superior, but are doing something interesting. And Japanese labels have even become a standard, in a way—for instance, if a stylish American guy is looking for dress shirts, he might go to Kamakura. I also think it started with A Bathing Ape, when you actually had a Japanese brand in the American pop-culture consciousness.
So it was Harajuku culture that led to Japanese brands being judged on their own merits?
Yeah, especially once Bape opened its own New York store in, like, 2003 or 2004. But the whole culture of reselling, and this is nothing against James Jebbia [owner of Supreme], but that whole reselling culture really started in Japan in the ’90s. A lot of what we’re seeing now is very much based on the Japanese model. That goes everywhere, from menswear blogs showing guys how to clean garments to order a bespoke suit to the sort of manual aspects you never used to get out of American fashion magazines, to just waiting 14 hours to get products. These things were all super normal in Japan, but weren’t in the United States until recently. But there’s just more stuff in Japan today. Fashion is just more important to the average man.
In general, how do Japanese men consume men’s fashion differently than we do in America?
I think, at the very beginning in the ’60s, if you wanted to wear Ivy League clothing in Japan, none of your elders would have it or wear it. So you relied on these magazines to tell you the right way to wear it. So men used media to tell them what to buy. In the ’70s, you start to get these magazines that have 20 pages of Red Wing boots in them, and into the ’80s it continued. Today, the older the magazine skews, the less manual aspects there are to them, they’re more just general ideas. For instance, Popeye [one of Japan’s most popular men’s fashion magazines] is much less prescriptive these days as Japanese men have much more confidence in what to wear and how to wear it.
What’s always stuck out to me is just how product-heavy Japanese magazines are. Just pages and pages of laydown shots, which makes them fun to look at even for someone who doesn’t speak Japanese.
Well, what’s great is that they allow you to shop before you get to the store. You pick up the magazine and see, oh, Visvim or Junya Watanabe did a cool jacket, so you call the store and ask, and then you go to the store to get it. So having your product in the magazine is extremely important in Japan. The speed at which things sell out in Japan is incredible, because people across the country are picking up the same magazines and everyone wants the stuff in the magazines rather than the stuff not in the magazines. And it’s to the degree that I’ve heard multiple times, whether it’s Jun Takahashi [of Undercover] or Nigo [of Bape], complaining about the fact that kids would only buy the color of the tee they were selling if it was in the magazine. But there are also a lot of Japanese guys who don’t want to just follow instructions. 

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At the end of the book, I make the point that the whole menswear-blog scene of seven or eight years ago started because the whole culture of dressing up has sort of disappeared for American men. So young guys couldn’t just go to their dad and ask, “What’s the best suit to buy?” because their dads don’t know. So they had to start from basics the same way Japanese men did in the 1960s.
Is the online-shopping and social-media world less important to Japanese men than it is to Americans?
I would definitely say so, and I would also say that these Japanese magazines have done way less about moving online. A lot of the best GQ content today can be found both online and in the magazine. And there’s a lot of content that’s just online and not in the magazine. But in Japan, print is really the culture that matters.
As for online shopping, it’s gotten a big boost recently. [Japanese department store] Beams has basically all of their stock online. Zozotown also sells tons of brands that you can buy online, with pretty good return policies. But for a long time, the reason the reseller scene was so big in Japan was that there were these little shops in the middle of nowhere that would travel to the big cities, buy the stuff, and sell it back in their small towns. But though e-commerce has taken off, I think the reseller scene is still insane. As for social media, it’s important, but hasn’t taken over the way that the magazines have control over what people buy. 
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Do you think that American men’s newfound interest in clothes over the past few years is in some ways related to the fact that Japanese labels have made great American products, like jeans?
Well, Thom Browne didn’t need to look to Japan to make his suits. But once American men saw how much was going on in Japan, it was more a catalyst for that interest in clothing. When American men wanted to look at pictures of Aldens or Red Wings back in 2007 or 2008, those pictures were in Japanese magazines. If you wanted to see a military jacket from the ’60s, you were more likely to find a real McCoy’s replica of the jacket than the actual vintage one. Or, like, if you wanted to see what Levi’s looked like in 1955, that was in a Japanese magazine. So I just think that when Americans became interested in their own heritage, the resources they needed to learn about it were in Japan. And Take Ivy is the perfect example of that, as it’s a book made by Japanese people about American style.
Also, it seems the best American-inspired products, like military jackets or North Face parkas, were and are only available to buy in Japan.
Absolutely. I guess I’m also taking for granted the fact that America has really caught up in terms of certain products. Like, you don’t have to buy Japanese denim if you want quality raw, unsanforized denim. A lot of American brands make them. But Japanese denim did sort of take over in terms of being the most reliable vintage-y-feeling selvedge denim, but also Cone Mills would have never started making their selvedge again had they not seen Japanese brands pulling their selvedge looms. The whole Levi’s Vintage Clothing brand started in Japan before the United States, about two years prior. At first the idea of raw selvedge was seen as a crazy Japan thing, but then they realized they could do it in the U.S. But I don’t want to take anything away from the U.S. and say that Japan caused this revival. There was also a large influence from Hong Kong, specifically Hypebeast, which created a bridge between products coming from Japan and the United States.
Where do you see the relationship between American and Japanese style going in the future?
At the end of the book, I talk about people who are taking this relationship in whole new directions. The beginning of the book is about Japanese men copying American style, the second part is the massive importation of American clothing into Japan, but the new brands now, like Visvim and Engineered Garments, are designers who understand the history and understand the references, but are trying to make something new. When you see a Visvim shoe, it looks like a Visvim shoe. So there will always be brands just making replica versions of old American products. I think the next step is this whole new wave of creativity.