Fashion once belonged to no one.
Fashion was once free of rules. Over time, like ivy growing patiently across stone, it came to define identities assigning garments, bodies, and gestures, until even the act of wearing became governed by unspoken codes.
Denim was worn by miners. Argyle was worn in country clubs. Velvet was worn as a symbol of refinement. Yet MASU has questioned these human-made codes. What was believed to be round, when seen from the reverse, revealed itself to be sharp, such discoveries are what MASU has been pursuing.
When the designer was not yet ten years old, he would visit his grandmother’s house, run through her closet and play at dressing like a rock star. He believed that, through clothing, he could be anything. However, now the “freedom” that once resonated during those childhood days eroded by algorithmic control, hierarchical pressure, and the cycles and games of imperial capital. Clothing, this simple thing, holds infinite possibilities of various futures that are now on the verge of being lost. MASU does not sit idly lament over the emptiness faced by independent designers. We just simply believe that we can speak directly to those close to us, in order not to lose our future. In other words, this is a gentle, as sweet as sugar, riot for us. MASU, without distorting history, untangles rigid customs, conventions, and established practices, deconstructing clichés, as though declaring that things could and should be freer and more open.
For instance, the hem of an argyle sweater is missing. A dull, gleaming velvet, once dedicated to workers, a bandana-patterned silk handkerchief. A floral-embroidered formal suit transforms into a spiky zip-up blouson, while a tracksuit is adorned with countless buttons. On a herringbone tweed jacket, five-colored clover-shaped buttons bloom subtly, and preppy symbols are stitched onto skinny cropped denim. A suede flight jacket bears floral and laser-cut ivy patterns, far removed from any notion of combat. Materials meet a faded color palette, marrying across contexts. Worn traces, patchwork, the drudgery of mundane days, even the fractures of the heart are all things worth cherishing.
The blues of denim, the yellows of preppy, the complex hues of velvet. Gingham checks, ruff collars, puff quilting..all equally captivate us. What was once the sword-chain, tied to weapons, becomes a talisman for those living in the present, leather that clings to the skin will gently cradle the comic books you love. A new truffle bag inherits the spirit of the cake bag, alongside a small, single-piece leather whip bag. As you know, even in a dark world, there are things that quietly sparkle. Beings from another world join hands, sometimes whimsically, sometimes with intent, imagining what else could be, celebrating an ironic embrace.
Critical of authority yet full of affection, rebellious yet sweet. Clothing is embedded with unspoken raw feelings. Asserting the “ordinary” feelings everyone secretly harbors. And just like that, our world begins to emerge.
December 28th, Tokyo — MASU BOYS LAND THE END OF 2025.
One thousand MASU BOYS were the first to witness part of the 2026 Autumn/Winter collection. A scene where designer and fans shared the same space. The future of the community and the allure of fashion are tangible, experiential, full of chance, and found in dialogue. “Those who resonate with designs that subtly shift context, those who notice the smallest details”, question a society that is coded and maintain their own perspective. They believe in what emerges from within, rather than what someone else has defined. Life is a series of miracles and encounters.
YES TO THE BOY. A rebellion in motion, where freedom is reclaimed and angels appear.