Redefining Standards!
Journal Standard's Challenge.

Ozaki: I am concept first. These are oxford shirts, but each shirt is made by a different fabric manufacturer, so it's a crazy pattern. There are several companies that make Oxford shirts with the Brooks Brothers' Oxford shirt fabric in mind, but they use different counts and production methods, so I thought it would be interesting to have different fabrics as a result. With stripes, the pitch is different, so it's easy to see. Since the key word is "standard," I tried to make it one color, but with subtle differences that can be recognized.

Ozaki: Yes, that's right. I got the idea when you brought a lot of fabrics to the meeting, and we decided to use three fabrics in the same color. But I just heard that we are going to expand mainly through the online store, and I'm freaking out (laughs). I wonder if the pictures will show this difference.

Matsuo: I'll give you a trial and error on how to take the shot (laughs).

Westfield: For me, "Journal Standard" is like wearing dress shirts with military pants. The base is American, but the fabric and details are dressy. The shirts I was asked to make for this project are also based on "Brooks Brothers. This is a regular-collar silhouette that I used to wear when I worked there, and I think it is a hidden gem. It is basically American, but the collar and material are dressy. I thought it would be perfect for this project, so I pulled out a piece I had and used it as a reference.

Kaneko: The bases of these two pieces are close, but we didn't dare to adjust them. As a result, they have each other's individuality and are completely different.

Terada: This design is a little different from the de standard, but I tried to put a design twist on a basic item. The cuffs and hem are double layered, giving it a layered look. As you wear it, I think the severed parts will develop a taste and more atmosphere.

South: In my case, I asked Mr. Abe what kind of shirt he wanted, and he brought me a denim work shirt. For Mr. Abe, he wanted to make a western shirt, but I wouldn't wear it, so I made it a work shirt. it was based on a design from the 50's and was very carefully made at that time. So I had it sewn at a dress shirt factory. The fabric is a linen blend, which gives it an elegant look. This is similar to what I have been doing at Graphpaper, so I think I was able to successfully fuse what Mr. Abe wanted to make with what I wanted to make.

South: I heard that Mr. Abe has a Ralph Lauren sweatshirt with double-layered ribs. Taking a hint from that, I decided to make not only the ribs but also the sleeves and body double-layered, but I thought that might be too much, so I decided to make only the ribs double-layered. I decided to make only the ribs double-layered. I made it in the size I like, one size each for men and women. Personally, I prefer the neck to be tucked in, but this time I made it looser.

South: I have a vintage sweatshirt that is cute, but Graphpaper doesn't make sweatshirts like that, so I used its dimensions as a base. I think it would look better if the neck were loosely open for girls to wear.

Terada: The concept of the sweatshirt is the same as that of the shirt. The top part is reverse weave, and the bottom part is a modern, clean fabric. I designed the sweatshirt as a mix of old and new, combining the size of the 2000s, when I used to go to "Journal Standard", with the size of today's sweatshirts. Only the top part was damaged to give it a slightly worn look and feel. I had this done in a very elaborate way as well.

South: It's pretty well made, isn't it? The sweatshirts that Abe and I made only have double-layered ribs, so it's hard to tell that we put a lot of work into them (laughs).

All: (Laughter)

Ozaki: I'm using Champion's reverse weave as a base, but like the shirt, I'm combining several fabrics. But basically, I tried not to make it too loud. I guess it's also hard to tell online at ...... (laughs). It's just that you can tell the difference when you look at it properly.

South: You can tell if you look at it right. But ours has double ribs. ......

All: (Laughter)

Matsuo: Even though the colors are the same, as they are worn, they will have different textures.

Westfield: I also used a Champion reverse weave as a base, but I wanted to make it a little dressier, so I added a collar. there was a sweatshirt with a chinstrap in the 90s, but I updated it to my liking by shortening the length and making the ribbing stronger.

South: It is made of a double layer of high quality 100/2 (hundred-so) broadcloth and has six pockets. In short, it costs more than twice as much.

Matsuo: This is very fluffy and nice.

South: When I make them with fabrics less than 100/2, they become stiff. Anyway, I like comfortable clothes, so I made them in an easy-pants design with a gathered waist so that I don't have to wear a belt.

Westfield: I also like the size.

Matsuo: It's interesting to see how the details are made into canned stoppers.

South: That was Abe's suggestion. We exchanged a lot of details.

Terada: I'm using a remake-style design, based on American military cotton poplin baker pants that I've probably made a lot of, removing the sides and joining the sides with oversized French military M-47 herringbone cargo pants that I'm in the mood to wear now, resizing them to the size I'm in the mood to wear now. To the oversized M-47. The fabric is a combination of herringbone and poplin. We are conscious of the tingling when you put it on.

Westfield: This is inspired by the utility pants used by the U.S. military in the 50s. The theme was military pants that could be worn dressy. Those utility pants originally had tucks and center creases, but to make them more elegant, we changed the material from cotton to wool. The thicker material makes the silhouette easier to recognize and gives them a more military look. I had thought about making these many times at [NEAT], but they let me make them here.