Those familiar with Mr. Hisashi Morishima may already know that he possesses an extraordinary collection of vintage American garments, from Levi’s to Converse and beyond. For someone with such extensive knowledge and experience, recreating vintage clothing would hardly be a challenge. Yet, what has always fascinated me is that Mr. Morishima continues to define BONCOURA as an Original Fashion Brand. From the fabrics to the construction, every BONCOURA creation follows its own distinctive aesthetic philosophy.
With this curiosity in mind, I asked him: “Morishima-San, what does fashion truly mean to you? Many Western writers have suggested that Japan was originally a country without fashion. What are your thoughts on that?”
Morishima-San gave me a gentle smile. After a brief pause, he slowly began to explain:
“We Japanese never considered ourselves a people who didn’t understand fashion. We simply didn’t have the same concept of time in fashion as the West did — seasons, years, and so on. I believe that was one of the fundamental differences between us. To me, FASHION is an expression of how we understand and appreciate beauty without time.
If you look into the history of Japanese Sashiko, you’ll find that almost everyone, from farmers to the samurai class, owned one or several pieces. Yet, no two pieces were quite the same. The patterns, the stitching techniques, even the dyeing methods — each carried its own individuality. If we were to judge them by today’s understanding of fashion, wouldn’t those ancient Sashiko garments essentially be one-of-one runway pieces? (Laughs)”
With that, he brought out an entire box filled with antique Sashiko garments and laid them before me. Some were extraordinarily rare pieces, the kind one might only expect to encounter behind the glass of a museum. And there I was, for the very first time in my life, being given the opportunity to touch and feel Sashiko textiles that had survived for centuries. To be able to hold something that had witnessed hundreds of years of history, something once worn and lived in by people from another time… It was an overwhelming experience.
A feeling of wonder that words could hardly describe...
< Episode Two — Sashiko, the Origin of “Unfashionable Fashion” >
Of all the antique Sashiko jackets in Morishima-San’s collection, my personal favourite is this extraordinarily heavy Sashiko jacket, once worn by a Kumigashira (fire brigade leader) during the Edo period. From its silhouette and materials to its construction and craftsmanship, everything about this piece left me with a sense of wonder that words could hardly describe.
Morishima-San explained:
“True Sashiko clothing must meet one essential requirement: the fabric has to be exceptionally dense. It needs to withstand constant friction, pulling and stretching without tearing apart. That is why Sashiko could be worn by farmers working in the fields, used as training uniforms for Jujutsu, worn by Samurai practising Kendo, or even made into garments for the tea ceremony among the upper classes. As for much of the Sashiko we see in the Japanese market today, I wouldn’t necessarily say it is entirely the same as traditional Sashiko. In my understanding, a great deal of modern Sashiko is more of a ‘Simplified Version.’ (Laughs)”
Holding this Edo-period firefighter’s jacket in my hands, I was immediately struck by its extraordinary weight and density. The fabric felt almost like 50oz heavyweight cloth, somewhat reminiscent of an exceptionally thick wool Peacoat. Its surface was full of texture, with a pronounced, almost granular character. The material itself felt as protective and substantial as a WALL.
Seeing how fascinated I was by the jacket, Mr. Morishima continued:
“During the Edo period, firefighters would first soak their Sashiko jackets with water before entering a burning building. Because these garments were made from exceptionally thick layers of cotton, they could absorb and retain a tremendous amount of water. This helped keep the firefighters’ bodies wet and offered some protection against severe burns.
And because Sashiko garments were so remarkably durable, injured people trapped inside a burning building could sometimes grab onto the sleeves of a firefighter’s jacket and be pulled to safety alongside the Kumigashira.You could say this is one of the finest examples of traditional Japanese ingenuity. (Laughs)”
As I examined the jacket more closely, I became equally fascinated by its colours. Despite more than a century of wear, ageing and preservation, the colours remained remarkably rich and vibrant.
Mr. Morishima explained:
“This is one of the characteristics of using naturally dyed cotton yarns. The yarns were dyed by hand before being woven into Sashiko fabric. Looking at this jacket, I think you can begin to understand why Japanese people have such a deep appreciation for the concept of Hon-Aizome — traditional natural indigo dyeing.”
The jacket’s buttons were another remarkable detail. Each oversized buffalo horn button had been individually shaped and polished by hand. Even after more than a century, the horn retained an extraordinary, almost luminous sheen.
The collar was reinforced with a cotton fabric that felt remarkably similar to velvet, while even the edges of the garment had been carefully finished, stitch by stitch, entirely by hand. The level of craftsmanship reminded me of the traditional techniques found in Italian bespoke tailoring.
“Fashion? I think this is something even more Fashion than Fashion itself…”
The second piece that truly captured my heart was this beautiful Indigo-Dyed Floral Sashiko Jacket. From a distance, it could easily be mistaken for a piece of plain, solid-coloured fabric. But as you move closer, the extraordinary beauty of its hand-stitched floral Sashiko patterns slowly begins to reveal itself.
It reminded me of the UNIVERSE.
At first glance, all you see is the “Night Sky.” But take a moment to look more closely, and suddenly, an entire “Starry Sky” begins to emerge.
What amazed me the most was the realization that these thousands upon thousands of tiny floral patterns had all been created by a single person, stitch by stitch, entirely by hand… Every single flower appeared so perfectly arranged, yet no two were ever quite the same.
At that moment, I suddenly felt inspired to describe it in my own words:
“Ten Thousand Stitches, Each One Sewn with a Soul.” (Laughs)
Of course, the binding and finishing details on this jacket were equally exquisite, displaying an extraordinary level of craftsmanship.But… to tell you the truth, why is it that, when compared with the beauty of those countless hand-stitched flowers, even such remarkable craftsmanship somehow feels merely…
“Quite Beautiful”? (Laughs)
The third piece was this remarkable Indigo-Dyed Sashiko Haori Jacket, displayed in perhaps the most prominent spot of the entire collection. Traditionally, a Haori is a Japanese jacket with two distinct sides, each carrying its own meaning.
The exterior is meant to be “seen”, while the interior, often decorated with woven family crests and symbolic patterns, reveals something far more personal.It is almost as if the outer layer was designed for the public eye, while the hidden details inside were reserved for those who truly belonged — “The Insiders.”
I wonder if anyone here has ever seen a film called < American Psycho >?
Well… I won’t explain any further. I trust you know exactly what I’m trying to say. (Laughs)
< OUTRO >
Of course, Mr. Morishima’s extraordinary Sashiko collection extends far beyond the three pieces I have introduced here. Hopefully, when the opportunity arises, I will be able to share more of these remarkable garments with you, one by one. (Laughs) Having personally examined hundreds of these antique Sashiko garments, from their materials and dyeing techniques to their weaving, construction and craftsmanship, I have become increasingly convinced of one thing.
If we trace the origins of Japanese high fashion today, I believe that, in a broader sense, its roots do not necessarily lead back to America.
Quite the contrary. Behind all these so-called “Reproductions,” America may have provided the “Bottle,” but the “Wine” inside has always belonged to ancient Japan.
I used to think that “Unfashionable Fashion” was simply another way of describing “Timeless Style.” But after witnessing these countless stitches of Sashiko, preserved across centuries of Japanese history, I have begun to believe something entirely different.
Perhaps this is what the Japanese have always understood as “Fashion” itself.
"Only Without The Boundaries of Time."
-- to be continued...