Hello.
I'm Noguchi from CASANOVA&CO.
Today, like yesterday, I'm going to talk about this event.
FUKUBORI new collection launch
&
Fuku-wo-horu exhibition
2026.04.04 (SAT) - 2026.04.08 (WED)
The FUKUBORI flash sale and Fuku-wo-horu exhibition will be held starting this weekend.
Today, I'd like to introduce "American workwear" from FUKUBORI's new collection.
FUKUBORI
Coverall
color _ Ecru
size _ 1,2,3
First, this one.
The reference is a 1950s PAYDAY.
PAYDAY was J.C. Penney's private brand, I think.
It's what you call a "store brand."
For the working class people of America at the time, PAYDAY, a private brand of a major department store, was not only relatively affordable, but also offered a sense of security because it came from a large department store.
However, I became convinced that this "sense of security" also came from the clothes themselves when I saw FUKUBORI's coveralls.
The raglan sleeves and triple stitching, which are symbolic of PAYDAY, are of course carried over to FUKUBORI.
Although the precision of the triple stitching is probably incomparably higher than it was back then.
What I personally find puzzling is the structure of these raglan sleeves.
As workwear, I understand the benefit of being able to cover a wider range of body types by making the shoulder width ambiguous, but even so, the shoulder slope is very steep.
You can't properly raise your arms.
I thought that for real workers back then, this would be fatal when doing manual labor.
The advantage of raglan sleeves doesn't match their purpose. I thought.
However, Kawahara-san had a different view.
"By widening the shoulder allowance with raglan sleeves, they eliminate inventory loss when selling mass-produced workwear to an unspecified number of people."
In other words, it was the ambiguity that made it "look somewhat like the right size" when busy workers bought it without trying it on and then put it on.
However, for it to "look somewhat like the right size," if the shoulder slope were gentle, it would resemble a kimono, and there would be a clear sense of incongruity around the shoulders.
Therefore, by setting a steep shoulder slope and swinging the sleeves forward, it assists in making it "look somewhat like the right size."
That's what he said.
Considering that Levi's denim jackets of the 2nd type also started to circulate, it's certainly possible that if you were living in 1950s America, a gentle shoulder slope that looked loose wouldn't have been considered cool.
It's easy to imagine people thinking, "Since those admired Levi's have forward-swinging arms, this must be cooler."
If it were an earlier era, a gentle shoulder slope would surely have been readily accepted.
When times change, the beauty that is sought also changes.
In the 1950s, the key to achieving function, appearance, and sales strategy might have been these raglan sleeves.
And perhaps it is precisely because of such craftsmanship that PAYDAY coveralls continue to be called "masterpieces."
When you wear it, the shape is so wonderful that you wonder if workers really wore it back then.
Kawahara-san's principle is not to change the design of the reference clothes, so these coveralls are almost identical to the original.
It's clear how excellent the original shape was.
The three-dimensional effect around the chest that is created when you lower your arms.
It looks similar to the "drape for a beautiful silhouette" in modern clothing, but I think the thinking behind this for workwear back then was different.
One reason is to compensate for the limited range of motion in the shoulders due to the steep shoulder slope.
The other is perhaps "room" for people with larger chest muscles, or anticipating muscle development through heavy labor.
Well, I don't know the exact answer, but it feels different from the "drape" of modern clothing...
Having two buttons on the sleeve is common in modern clothing, but back then, it must have been essential to ensure the safety of workers.
After all, if a loose sleeve got caught in machinery, it would be a huge disaster.
It's unthinkable that two meaningless buttons would be added in an era when workwear was made as rationally as it was then.
There's definitely a reason for it.
The vibe when worn is old-fashioned yet very new.
FUKUBORI really excels at creating an overwhelming difference from others by subtly editing the pattern, adding nuances to the fabric, and perfecting the sewing, all while keeping the original pattern almost intact.
I think you'll feel how high-level the craftsmanship is when you see it in person.
FUKUBORI
Painter
color _ Ecru
size _ 1,2,3
This pair of pants references LEE's painter pants.
It's made from the same fabric as the coveralls I just showed you, but this fabric is actually FUKUBORI's first original fabric.
(Don't mind the photo taken with the coveralls.)
If you look at the back of the fabric, you can see it clearly: FUKUBORI used ecru for the warp, and then wove in a rhythm of two beige threads and one ecru thread for the weft.
This is FUKUBORI's take on Jelt denim, inspired by the color scheme of the Jelt denim used by LEE back then.
LEE's Jelt denim was a fabric that aimed for both lightness and durability by weaving highly twisted threads at high density, but it also had a hidden secret in its color scheme.
Actually, the weft of LEE's Jelt denim was not bleached but woven with light gray cotton thread, which is said to have been to hide the unique fading and dirt of denim. Kawahara-san incorporated this ingenuity into FUKUBORI's philosophy.
As mentioned earlier, FUKUBORI's Jelt, woven with a rhythm of two beige threads and one ecru thread for the weft, isn't meant to hide dirt, but to achieve a different nuance from other ecru fabrics within FUKUBORI's "ecru-only" philosophy.
Well, on the other hand, only Kawahara-san, who only makes ecru, would undertake such a niche design. (laughs)
But this fabric is really good.
It's an ecru with a lot of character, and it strongly embodies FUKUBORI's essence.
I think it's an original fabric that makes sense to be original.
Oh, I forgot to mention, the fabric is 10 ounces.
So it's the perfect thickness for the upcoming season.
It can be washed vigorously, and the tension of the bobbin thread in the lap seam is kept low so that excessive puckering does not occur when washed.
This decision was made because the silhouette is so good that we want to avoid any excessive nuances that would distort its shape.
While I don't dislike a strong puckering effect, for FUKUBORI, this is ideal.
The tool pocket on the right side and the back pocket that slightly overlaps it.
This is the biggest FUKUBORI point, so like the coverall photo from yesterday, I'll refrain from writing what the key points are here.
If you're able to come to the store, please take a look at the back, as the answer will be clearly visible.
The patterns of workwear from that era are still incredibly cool, or rather, ruggedly handsome.
I don't know if it's rugged because it's workwear, or if it's workwear because it's rugged, but I think wearing this with just a T-shirt gives off a very masculine strength.
Roughly roll it twice, and subtly show a hint of beige peeking out, revealing the blue grid on the inside. There you have it.
These masculine pants go really well with LEVER.
I believe there's a charm in ecru that cannot be expressed otherwise.
You can't get this feeling with black.
Both the coveralls and painter pants will go on sale this Saturday, April 4th.
If you're interested, please take a look.
I'll introduce "Japanese workwear" in about two days.