How a Quiet Japanese Brand Suddenly Took Over Luxury Menswear
Kazuma Shigematsu, the founder of the Japanese menswear brand a.PRESSE, is all about slowing down. “There is too much information, too much influence,” says Shigematsu, “and people want to go back to something iconic, simple, well made.”
And it looks like he’s right. Last November, I visited the brand’s flagship store, nestled in an unassuming building in upper Jingumae in Tokyo. As soon as I entered, Shigematsu apologized for the lack of merchandise on display. The sparseness of the racks, Shigematsu explained, was due to the fact that many of a.PRESSE’s garments, particularly jeans and sweatshirts, sell out on the day they are delivered, with customers lining up around the block to try to get their hands on a piece.
You’d be forgiven for wondering what all the hype is about. On its surface a.PRESSE is yet another Japanese brand inspired by a mix of workwear, military, and vintage Americana — but that’s before you touch the clothes. a.PRESSE’s strength lies below the surface, in its attention to fabric, construction, and detail. The garments are familiar — coach jackets, shirts, trousers, T-shirts — your typical workwear pieces, but the execution is not.
“Our style is very focused,” says Shigematsu “but our way of making the product is not easy.” That bomber that looks like it’s made of cotton but feels like something extraordinary? It’s actually made of washed silk. The blazer that looks rather unassuming on the hanger is made of supersoft cashmere and transforms on your body. There is a trucker jacket made of Spanish leather — all of a.PRESSE’s fabrics are developed in Japan, with the exception of leather — that feels like butter.
And then there is the belt. There is only one belt, Shigematsu explained, because it took a long time (in his words) to come up with something that he felt was worth producing. While I am not an expert on how much time designers spend on belts, his statement seemed excessive, until I handled it. Made of horse leather, with a pure 925 silver buckle, it is the pinnacle of belts.
a.PRESSE’s is the kind of craftsmanship people have come to expect from The Row or Brunello Cucinelli, but here it’s applied neither to runway fashion nor to the preppy, rich-guy apparel, but to workwear. Can there be such a thing as luxury workwear? If this seems absurd, it’s worth noting that ten years ago few people would predict the rise of luxury streetwear. Perhaps with a.PRESSE we are witnessing the birth of something similar.
The a.PRESSE store is as equally thought through as Shigematsu’s clothes, and he sees it as an indispensable part of understanding the brand. The textured walls inside are made using sand and straw concrete, serving the perfect backdrop for the mix of Danish and Brazilian mid-century furniture, and the all-important vintage JBL Sovereign sound system. The clothing racks are brass and the heavy oakwood hangers, custom-made for a.PRESSE, are objects of luxury in themselves. The shop represents the same idea as the clothes, of taking something familiar and elevating it into something truly special.
Shigematsu started a.PRESSE in 2020, during the pandemic, which allowed him time to hone his vision. He has spent plenty of time in the Japanese fashion industry to understand how it works; the moment you blow up is the moment you are done. Shigematsu aims for a slow burn. There were only fourteen international stockists for the brand in 2024, and this year he plans to grow its number to twenty-five, even though plenty of stores are knocking on the door.
Two months after my Tokyo visit, I was at the a.PRESSE showroom in Paris, where I finally got to see the brand’s full product range, the cashmere turtlenecks sitting next to denim jackets, the leather buttoned shirts next to the heavyweight cotton tees. By now there was a small capsule of garments aimed solely at the international market. There was also a second belt. It all made sense in a way the familiar thing made new does. I tried on a black collarless bomber jacket made of a silk-cotton mix, and it looked — and perhaps more importantly, felt — both new and lived in. At the showroom there was the same Brazilian mid-century furniture as in the brand’s flagship store, and the same custom-made oakwood hangers. Shigematsu explained that he wanted to bring the spirit of his flagship store to the showroom in order to highlight the continuity of his vision.
Amongst certain discerning buyers and editors in Paris a.PRESSE was causing the same kind of enthusiasm I witnessed in Tokyo. Chris Gibbs, the founder of Union, was introduced to the brand last year in Paris by the OG International Stussy Tribe member Michael Koppelman, who literally flagged him down in the street and brought him to the a.PRESSE showroom. “I was blown away,” says Gibbs. “I think the main thing that stood out at first was the fabrics and washes were completely dialed in and also very period correct… they were also very considered and unique.” The brand has done so well in its first season at Union, that it’s already on its second trunk show where people could come and place custom orders. “People are really resonating with this brand and it’s great to see live and direct. For a brand that is very quiet and does very little marketing, people are just attracted,” added Gibbs.
“For me, the brand not only speaks to the ease of unbothered daily dressing, but their uncompromising attention to detail is what I think makes it feel so special,” concurs Christopher Green, the owner of Ven.Space, a directional menswear boutique in Brooklyn. “Almost every one of the styles they offer is steeped in heritage or vintage military/uniform spec, which is comfortable and familiar, but it’s their use of superior fabrication, finishing, trims and details which I think the brand really excels in.”
Shigematsu sees himself as his brand’s first customer, reimagining favorite vintage finds into garments that fit both his body and his personality. He also tries to push the limits of what this reimagining means. He uses a lot of cashmere without thinking of it as a luxury material, preferring to see its utility first. He is also not out to make faithful reproductions. He can use a body of a jacket from the ‘70s and add a pocket design from the ‘60s. Or he will swap materials, remaking a ‘90s leather blazer in cashmere.
All of this is labor intensive and a.PRESSE is limited in how much it can produce, which is another reason for its careful growth. Despite the attention from the menswear enthusiasts and professionals alike, Shigematsu remains steadfast in his desire to build a brand that is based on experiencing its product. Though he agreed to be interviewed, in the end he said, “I don’t like using language; I prefer a feeling.”
