The second edition of "Ametora: How Japan Saved American Style," which illuminates the fashion history of modern Japan, which went beyond being an enthusiastic imitator of American Ivy League fashion to a leader in American and global fashion, has been published.
In the second edition of 『Ametora』, author W.
David Marks (W.
David Marx) not only slightly revises the main text of the book based on the results of his research, but also writes a newly written “Afterword” to examine the growing influence of Ametora in the Japanese and global fashion world over the seven years since the first edition of Ametora was published.

“Over the past 20 years, Korea has become a cool place, creating strong, cutting-edge trends.
This book presents an alternative strategy with the same goal: to absorb Western traditions and, through them, create valuable reproductions and adaptations.
The strategies presented in this book can serve as a companion on Korea's path forward in fashion today.
Of course, that path may be quite 'conservative' for some, but there is much to be learned by imitating and editing the past for the future, and finding ways to recover what was 'lost.'
But let's remember that Japan's success wasn't due to any specific Japanese culture or technology.
“All possibilities are open to today’s (young) Koreans.”
--- p.10, from “To Korean Readers”

“The most profitable niche was somewhere else.
It was a luxury sports coat for the wealthy elite who had accumulated a lot of cash during the Korean War.
Ishizu, like the clothing industry as a whole, benefited from the ripple effects of economic growth as nouveau riche celebrated their success with new clothes.
The Hankyu Department Store in Osaka gave Ishizu a corner, and Ishizu began serving wealthy families from the suburbs as regular customers.
As the business grew, he needed a brand name that people would remember, so Ishizu changed the brand name to 'VAN Jacket'.
“The name ‘VAN Jacket’ was taken from the title of a comic magazine that came out after the war.”
--- p.42

“Now we needed a project name.
Kuros suggested 'Take Ivy'.
The title was a play on the famous song "Take Five" by the jazz band Dave Brubeck Quartet.
In Japanese, “Ivy” and “Five” sound slightly similar, but Hasegawa, who speaks English well, objected, saying that Americans would find the title “Take Ivy” nonsensical.
--- p.112

“In the history of Japanese fashion, Ivy represents a crucial moment in the 1960s when men began to dress up, but more importantly, it set the tone for how American styles would be imported, consumed, and transformed over the next 50 years.
After Ivy, Japan had the infrastructure to create and spread the latest American style.
This applies not only to the clean-cut clothes of New England youth, but also to more countercultural, rough-hewn clothes.”
--- p.134

In her “Editor’s Note,” Ginemarie wrote that Japan was “in a state of adrift” and that she wanted to introduce a more health-conscious lifestyle to young people, suggesting sports as a spiritual pillar for Japan’s future.
'We believe that an active lifestyle is crucial not only for your health but also for the survival of modern people.
The idea that exercise is fun is a really great message from my American peers.
“We must devote every spare moment, no matter how small, to exercise.”
--- p.188

“The style was taken from America, but Japanese preppies put their own spin on it.
That is, things like miniature bow ties and knit hats with pom-poms.
But the biggest difference between the two countries lies in context.
Japanese teenagers wear preppy clothes on the streets of the city, not on idyllic campuses.
Every Sunday, Japanese preppies would gather in groups with friends, wearing matching blazers or coordinating plaid and pastel oxfords with their girlfriends, and gather in the shopping districts of major cities.”
--- p.251

As A Bashing Ape gains momentum in the Japanese entertainment industry, a moment of sober decision comes to Nigo.
Will he remain half-hidden in the shadows like his mentor Fujiwara, or will he move forward to achieve full mainstream success?
At twenty-eight, Nigo decided to remove all the artificial veils that covered his business.
He abandoned limited production and exclusive approaches, setting A Bashing Ape's goal to become the most influential and luxurious streetwear brand ever."
--- p.282

“The rapid growth of vintage stores and replica product lines in Japan in the late 1990s gave consumers access to virtually any piece of quintessential American clothing, new or used.
Osaka Five and the brands that followed, hoping to bring back the magical glory days of Levi's, emerged with premium jeans born from a deep admiration for American denim.
But during this same time, there were people in Japan who stopped imitating classic American styles and tried something new.
Denim was trying to become something more Japanese.”
--- p.319

“The menswear revival would not have happened without the role of Japanese brands, consumers, and the media.
But Japan's influence on fashion runs much deeper.
The way we think about clothes follows a postmodern Japanese perspective.
According to that perspective, anyone can mix and match clothing from any era, and authenticity is proven through reverence for ancient production methods rather than being created within the original community.
It was Japanese consumers who first understood clothing as a floating signifier, blurring the strict boundaries between 'heritage', 'luxury', 'sportswear' and 'streetwear'.
This new paradigm has enabled Japanese brands to lead the pace of the modern global apparel market, and the wealth of design experience gained within this framework will enable them to continue to maintain their edge.
Like Take Ivy, Japanese fashion is not a passing fad.
Ameto will continue in the future.”
--- p.373, from “Review”

“This book, AmeTora: How Japan Saved American Style, faithfully shows how far reproduction can go.
Cultures like K-pop show how far this hybrid approach can go.
Whether it is reproduction or mixing, both reflect the subjectivity of the person who brought it, and that creates a new look.
The blurring of the past can be seen as a disadvantage, but on the other hand, it can also be an advantage.
“In a world where you can buy Levi’s jeans or Five Brothers flannel shirts from the 1950s, recreating the past and using it in new ways creates a culture of style for the present.”

--- p.393~394, from “Translator’s Note: The Joy of Fashion”