A.PRESSE Is Proof That Quiet Craftsmanship Still Wins in Fashion

This story is a complementary profile to the 2025 Hypebeast100, our annual recognition of the creatives shaping fashion and culture today. Explore the full Hypebeast100 list, award winners, and this year’s Next class of emerging designers here.

All around the fashion world this year, A.PRESSE was the name quietly circulating among the most discerning circles. And for good reason. Few brands ascend this quickly while keeping such a low profile. A.PRESSE’s approach to design may appear restrained at first glance, yet its real force lives in the details, where intention and precision reveal themselves slowly, almost privately.

Founded by Kazuma Shigematsu, the Japanese menswear label operates with remarkable restraint. It has only two retail stores, one in Tokyo and one in Kyoto; it does not run an online shop; and it has built a selective roster of international stockists that many brands spend decades chasing. From its Tokyo flagship, a space that resembles a museum more than a storefront, Shigematsu has managed to create global momentum without over-explaining anything at all. That scarcity of commentary is deliberate. The clothes are meant to speak first, and ideally, speak enough.

Shigematsu’s north star is a bygone era, the mid-century period he cites as the last era of true originality. Through that lens, he reinterprets the garments we most associate with familiarity, from workwear to vintage Americana to military uniforms, treating them not as trends but as timeless forms worthy of careful study. The result is clothing that translates these staples into luxury-grade pieces designed to be lived in for years.

“There is a lot to admire,” says Chris Gibbs of Union Los Angeles, one of A.PRESSE’s earliest supporters in the United States. “In the end it is really the fit. Everything just fits and drapes perfectly.”

Intentionality guides every decision. Shigematsu resists the title of fashion designer, instead calling himself an editor and describing A.PRESSE as an editorial department. As he frames it, he designs without truly designing, choosing instead to refine what already resonates. “I believe the key to long-term wearability is starting with designs that are inherently universal,” he says. “Ones that already have a certain level of recognition among people.”

His background supports this ethos. Before founding A.PRESSE in 2021, Shigematsu worked in sales and production, helping deliver brands like Daiwa Pier39 and WEEKEND to retailers across Japan and beyond. This experience comes through not only in the brand’s controlled, steady growth, but in its understanding of what products people gravitate toward and why.

The appeal of A.PRESSE lies in the subtlety of its reimagining. The brand does not chase obvious reworks or exaggerated silhouettes. Instead, it perfects proportion, fabric, and finish in ways that reward close attention. “There is an art to finding the right vintage piece and then perfecting the fit. A.PRESSE are masters at this,” Gibbs explains. “A lot of brands take it too far and end up making an entirely new silhouette when you just want that perfect vintage look and feel. Others copy the original item exactly without considering that something might not fit right. You end up with an ill-fitting piece you could find at a flea market, so why bother?”

A.PRESSE’s brilliance is not simply that it is another Japanese label inspired by workwear and Americana. It is a brand devoted to building a wardrobe for a very specific type of consumer, someone who values craftsmanship but does not want to overthink their clothes. Someone who wants garments that feel familiar yet elevated to their highest potential. And A.PRESSE delivers that consistently, with an attention to detail that feels almost monastic.

If last year was A.PRESSE’s quiet introduction to those in the know, 2025 marked the moment the brand crossed over, landing on the radar of a wider international audience eager to champion the next evolution of Japanese craft. Without fanfare, without oversharing, and without compromising what makes it special, A.PRESSE’s 2025 run confirmed that subtlety can still set the pace in a culture driven by noise.

The following interview between writer Noah Rubin and Kazuma Shigematsu originally appeared in Hypebeast Magazine Issue 35: The Wavelength Issue.

A.Presse operates with an understated aesthetic. Why do you think simplicity resonates with today’s audience?

Kazuma: People are exhausted by external validation. In a capitalist economy, “likes” have become a new form of currency, encouraging individuals to operate like media entities. More and more, people are beginning to feel that this comes at a significant cost. Rather than being shaped by others, they feel the need to shape themselves, which naturally leads to a preference for simplicity.

Your designs incorporate modern elements into classic American menswear. How do you strike that balance in your design process? Are there any items or periods that have particularly influenced you?

Kazuma: I’m not fond of the way the word “fashion” is commonly used today, but I do believe that people always have a certain mood or feeling. This feeling isn’t centered around individuals. It emerges from the flow of the world itself, which is different from fleeting trends.

Since clothing is worn by people living in the present, I do consciously consider the “now.” However, I also believe that what we create shouldn’t be confined to the present moment — it should be something that transcends time. I’ve learned from classic craftsmanship, culture, and historical context, so I make sure not to lose sight of those influences. That’s why I avoid exaggerated expressions of a specific era.

I’m particularly influenced by the mid-century period and earlier. I believe that all true originals existed before the 1960s, with roots tracing back even further. Each decade, including the 1950s, has its own unique appeal, but ultimately, everything happening today is a repetition of the past. History has never been interrupted, so the deeper you trace it, the more you realize that clothing, politics, religion, and economics are all interconnected, shaping the way we think about design.

You’ve mentioned your appreciation for French vintage brands like Hermès and Charvet. How do they influence your work?

Kazuma: Even if the country is different, the perspective remains the same. Of course, environments and cultures vary, and their historical roots differ as well, but I view them all from a neutral standpoint.

What role does Japanese craftsmanship play in shaping the identity of A.Presse?

Kazuma: I believe that having strong technical skills allows us to deliver value to people without needing to provide detailed explanations.

A.Presse started with the idea of creating clothing you’d want to wear every day. How has that vision evolved since the brand’s launch?

Kazuma: When I first started the brand, I would style pieces mixed with vintage clothing, but now that we have expanded, our range is big enough to create full outfits within the brand. I see that as an evolution.

How does A.Presse navigate the intersection of functionality and fashion?

Kazuma: I believe it comes down to values — what one seeks in clothing, why they choose to wear it, and where they place importance. Ultimately, no matter the approach, I feel that it all falls under fashion.

Are there any designers or brands you resonate with? Do you see any brands that share A.Presse’s artistic sensibility, even if their aesthetics differ?

Kazuma: Miyoshi Ryo from everyone. While there may be differences in output and business approach, I believe we share the same aesthetic sensibility.

What’s next for A.Presse? Do you have any plans for new design directions or collaborations?

Kazuma: Starting with the FW25 season, we have many plans for further global expansion. However, our priority is to ensure that we can properly present our brand in each country and its unique environment as we launch one step at a time.