MASU, the Japanese menswear brand led by designer Shinpei Goto, showcased its Spring/Summer '25 collection at Boulevard Haussmann, the heart of Paris's luxury department store district, during Paris Mens Fashion Week.
Founded in 2017 as “masu” (pronounced “Em-Ay-Ess-Oo”), the label rebranded in 2018 as all-caps MASU. Shinpei Goto has developed the brand in recent years, tapping into a cultural moment that quickly put MASU at the forefront of fashion as it had captured the attention of international fashion insiders and online tastemakers.
Born and raised in Nagoya, Japan, Goto found his love for fashion in middle school, drawn to vintage Levi's 501s. His interest in vintage clothing later led him to work at the famous shop LAILA, where he developed his skills in tailoring and redesigning garments.
In late '23, MASU won the '24 Fashion Prize of Tokyo, which led to MASU’s first Paris showing for their Fall/Winter '24 collection. MASU's clothes, from classic suits twith unexpected cuts, to grungy skater styles and their wide denim, are made in Japan and loved nationwide. This versatility defines MASU, combining unexpected contrasts with excellent craftsmanship and careful attention to detail.
Inspired by Ivy League fashion and its history in Japan since its introduction in the 60's, Goto gave the style a fresh twist with playful and contemporary details for Spring/Summer '25 . The collection also took inspiration from the 'MASU BOYS CLUB', a theme that reflects youthful rebellion and the rise of Japanese fashion.
Textured sweaters opened the runway, followed by looks with blazers, oversized ties, Ivy League graphics, and plaid patterns. The striped rugby jerseys became preppy popcorn tops, and appeared on sheer sweaters and a bomber jacket. Feminine touches showed up in tartan maxiskirts, sparkly sneakers, ruched nylon jackets and ballerina shoes with pink ribbons. One standout look featured a pleated green jacket paired with a unique paper bag–style clutch. Another highlight was a painted leather jacket with the MASU BOYS CLUB logo on the back. The styling was impressive, as often seen with Japanese brands. Models walked the runway eating apples, carrying oversized bags with blouses draped over them, holding toy airplanes as accessories, and wearing crowns made of wild olive leaves, reminiscent of the laurel wreaths awarded to athletes in Ancient Greece, as the show took place just weeks before the Paris Olympics.
After the final look was showed, Goto rode a bicycle onto the runway for the finale, waving to the cheering crowd as he led his models out onto the streets of Paris, while 90's hit "You Get What You Give" by New Radicals played loudly. The finale left the crowd feeling energized and highlighted MASU as a brand for the next generation of fashion. MASU creates pieces that today's youth are excited to wear, inspired by nostalgia for a time they barely experienced. Ironically, even with its throwbacks and internet-inspired touches, MASU also points to the future of fashion, yesterday's styles reimagined for tomorrow.
Collection notes: 'Grayisch scale'
Like Ivy creeping over a wall over
the years, as time passes, something that grows familiar without us even
realising it. Something we can say that is taken for granted. Sometimes,
these signify comfort and satisfaction while embodying the ordinary,
resonating with the changes of eras and generations. Occasionally, rigid
concepts or styles, though rarely, may cause unexpected friction in people’s
hearts. For Shinpei Goto, who regards history as a legacy filled with
enchanting codes, one of the elements is the "trad" and "Ivy" styles.
MASU,
while embracing the spirit of the times, has continued to explore a radical
path alongside MASU BOYS without distorting history, infusing their designs
with novel ideas. MASU's extraordinary design approach always begins
with questioning rigid thoughts, encouraging "people to let go of what they
unconsciously cling to", and integrating contradictions and combinations
repeatedly.
The imagination that questions the existing can weave different
stories. The Spring/Summer '25 collection unveiled on Haussmann
Boulevard in Paris is filled with straightforward reinterpretations that
directly confront traditional and Ivy styles. With his usual light touch,
the designer turned his gaze to the ‘style’ like mature ivy and the
items and outfits that symbolise them. He unraveled navy blazers, marine
stripes, and argyle patterns, not only slicing through clichés but also
technically transforming forms with smocking anddeforming classics with
accordion pleats, liberating concepts effortlessly. This playful collection,
shedding the abstraction of style, can be seen as a meeting of
familiarity and artistic dressing. Shinpei truly envisions the beginning of
another tale.
Collaborations, for MASU, represent a contemporary approach
that unleashes his vision into a broader territory. Since the 1950s,
incorporating American culture and permeating Japan with American
traditional style, the VAN JAC by Kensuke Ishizu, who led Japanese fashion
trends, we paid homage to Ishizu by creating a sweatshirt printed with his
portrait in the style of a Beethoven sweatshirt (Great Man Sweatshirt), not
only with a paper bag-style clutch but also revolutionizing Japanese fashion
and paving the way for the future. Following the Fall/Winter '24 collection,
VERDY depicts MASU BOYS CLUB lettering and emblem, along with ivy graphics
wrapping around the arm, while memorial pants are adorned with words related
to VERDY and designer John, a friend who connected them.
While the
conventional pattern exists and mavericks of the era, who face criticism,
emerge, it sparks enthusiasm. Then it eventually becomes mainstream and
classic. Japanese fashion has been cultivated in this manner, but I don’t
want to passively accept this environment. Without any hesitation, in a
Japan that is becoming increasingly classic, I want to continue to speak
through the power of MASU BOYS, connecting the grayish attitude to the
future of fashion”. As long as MASU BOYS exist, it’s too early to conclude
the Ivy story with 'Happily ever after'.
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