This article originally appeared in Hypebeast Magazine Issue 35: The Wavelength Issue.

Like a musician uneasy with the word “music” or an artist wary of the word “art,” A.PRESSE mastermind Kazuma Shigematsu resists the word “fashion” to describe his brand—and he has a point. Shigematsu and his team of designers fuse the familiar with a fresh modernity so cleverly understated that A.PRESSE’s burgeoning appeal feels almost paradoxical.

Shigematsu likes to think of A.PRESSE as an “editorial department”—a stark contrast to the personality-driven approach of many brands in the space. His linguistic hesitation isn’t just a critique of the fashion industry or the act of designing itself. It hints, rather, at the meticulously constructed world he and his team must inhabit to conjure their classic yet contemporary menswear.

A.PRESSE’s subtle, American-influenced design language is showcased in its museum-like concrete retail space in Tokyo—hard to find were it not for the long lines Shigematsu’s drops consistently draw, a rarity for a brand of its caliber and lofty price point. Denim staples and quarter-zip tops are flanked by generously cut trousers, fisherman sweaters, and coats with clear military roots. These low-key-sounding, vintage-inspired silhouettes are anything but, as each item’s fabric, stitching, and overall execution is brimming with excruciating detail that rewards those with a keen eye for exquisite precision.

Dig a little deeper and Shigematsu’s complicated relationship to the word “fashion” starts to make even more sense, especially in the context of his background and approach. A.PRESSE, which launched in 2021, is the first brand he has overseen in its entirety. Previously, he worked in sales and production, helping execute and distribute labels like Daiwa Pier39 and Weekend to renowned retailers in Japan and beyond. That experience on the business side may explain his deliberate, slow-growth strategy, one that favors trunk shows and pop-ups to introduce new pieces to retailers and customers alike.

2025 will be a pivotal year for A.PRESSE as the brand navigates whether its novel approach to style—both philosophically and pragmatically—can propel its status from sought-after Japanese label to global powerhouse on the rise. The outlook is promising: after being named “Best Clothing Line of 2024” by the ever-perceptive team at Blackbird Spyplane, A.PRESSE will soon be available at numerous top-tier US stockists, led by perennial favorite UNION LA.

On the deepest level, Shigematsu says he doesn’t just design—he aims to “design without designing,” not merely seeking timelessness but striving to transcend time itself. This mindset is immediately apparent in the look and feel of each garment in the brand’s near-impossible-to-acquire collections.

A.PRESSE is about more than just great style, it’s clothing suffused with an enlightened philosophical perspective.

A.PRESSE operates with a somewhat muted aesthetic. Why do you think simplicity resonates with today’s audience?

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?

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?

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.

The FW24 collection marked A.PRESSE’s expansion into the US market. Why did you choose that moment to make that leap? What excites you most about showcasing your collection at UNION in Los Angeles?

We were able to establish our foundation in Japan by opening our flagship store in Tokyo, creating a space where I can communicate what I want people to feel—not just through words but through the environment itself. With that in place, it felt like the right time to take on the challenge of expanding overseas.

Regarding UNION, I’m most excited about the opportunity to work with them. The store’s owner, Chris Gibbs, takes a different approach from us, and he personally connects with UNION’s customers in a way that brings fresh insights and learning experiences. While we come from different backgrounds, there are aspects we can both relate to. At the same time, working with them allows me to gain perspective that I wouldn’t have had if I stayed in Japan. That’s what makes this collaboration so exciting.

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

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

The FW24 collection features pieces like sherpa-lined suede coats and leather-trimmed liner jackets. How do you approach designing such iconic staples with a fresh perspective? What do you keep in mind in order to create items that will be cherished for a long time?

Fundamentally, I focus on “not designing” from the vintage pieces that serve as our base. The concept of design without designing is what I’m most conscious of. It’s a very subtle approach and difficult to explain in words, but I see it as creating a sense of slight dissonance. I believe the key to long-term wearability is starting with designs that are inherently universal—ones that already have a certain level of recognition among people.

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

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?

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.

The theme of this issue of the magazine is “Wavelength.” 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?

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?

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.