![]() And in 2003, when the director Sofia Coppola released her second feature film, Lost in Translation, it featured a cameo appearance by Fujiwara, who can be seen hanging out at a Tokyo nightclub.įujiwara says the cameo came about because of his friendship with Coppola, but it’s hard to imagine the director failed to understand what it signaled about her understanding of Japanese culture. The artist Takashi Murakami, for example, has called him “a cultural leader in Japan,” and predicts that his influence will continue for generations due to the number of artists he’s helped discover. And yet, however charming such modesty may seem in our age of clout-chasing influencers, the vastness of Fujiwara’s influence on our culture has already been measured by his peers. He also denies credit for bringing the Stüssy brand to Japan in the 1980s, which is especially strange since Shawn Stussy himself says otherwise. “They always want the logo,” Fujiwara says of his collaborators, which include iconic brands ranging from Levi’s to Louis Vuitton. Both feature Fragment’s distinctive twin-lightning bolt logo. His eyeglasses, framed by shoulder-length curtains of black-and-silver hair, are Oakleys, and his shoes are Nike Air Jordan 3s. His outfit is autobiographical, but not at all nostalgic: Trousers he designed for a recent collaboration between Moncler and his own Fragment Design imprint, paired with a black-and-white Fragment t-shirt. Six months later, when I meet Fujiwara for tea in Tokyo’s Roppongi neighborhood, the founder of Japan’s original streetwear label, Good Enough, is unencumbered by the achievements and associations which inspire such hyperbole. You may have to select a menu option or click a button.In January, everyone at Paris Fashion Week had something to say about Virgil Abloh’s claim that streetwear was dead, but only one of these comments stuck with me: “As long as Hiroshi Fujiwara is alive,” one fashion CEO told me, “streetwear is alive as well.”
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