Three typical types of men who are partial to high-brand clothes [ people who buy T-shirts that cost 150,000 yen ].

There are men who are willing to pay more than 150,000 yen for a high-brand T-shirt. There are a few cases in which wealthy people buy things as recommended by department store salespeople, but there are also few cases in which they do so with a clear and strong intention. What is it that drives them? Let us explore the contours of the three typical values.

Typical Type 1 who are partial to high-brand clothesStatus Symbol Type──Men who use high-brand clothes as a branding tool to enhance their own value

The first type is the group that views high-brand clothes as a status symbol. For this type of people, high-brand clothing is a means of self-expression as well as a way to show off their success and social status. This type of value standard tends to be held especially by upstart businesspeople, hosts, rappers, influencers, and pick-up artists. They are highly conscious that ” wearing high-brand clothes = proof that you are special,” and they actively incorporate highly visible items. For example, they prefer designs that are instantly recognizable, such as Dior’s oblique pattern knitwear today , and Balenciaga’s oversized logo hoodies, Vetements’ lettering parkas, and Gucci’s GG-print jackets in the past. He is not concerned with the history or concept of a brand, but prefers to wear ” the latest, most prominent, and most fashionable brands. Accessories and sneakers are similarly chosen for their high visibility and status, such as Chrome Hearts and Grosse accessories, limited-edition sneakers from collaborations, and studded shoes by Louboutin. It is required to keep up with new products each season and constantly update your style to convey ” how much money you are spending.

Typical Type 2 who are partial to high brand clothingDesigner Believer Type ─ those who follow Hedi Slimane, Raf Simons, and Helmut Lang

This type sees high brand clothing as “something that wears the designer’s ideas and philosophy.” What is important to them is the brand name. What is important to them is not the brand name itself, but the style and message that the designer has put forth. They continue to follow a particular designer even if the brand changes, and when choosing clothes, they base their selection on whether the item embodies that person’s design philosophy. A typical example is the Hedi Slimane followers. Hedi Slimane established ultra-slim tailoring at Dior Homme, deepened grunge rock at Saint Laurent, and incorporated 90s indie rock and skate culture at Celine. While adding different elements in each era, he has maintained a consistent aesthetic: monotone and slim jackets for Dior Homme, damaged denim and western boots for Saint Laurent, baggy denim and bomber jackets for Céline. His fans follow his consistent worldview, not his brand. The same is true for Raf Simons’ followers, who resonate with his insight into youth culture and his artistic approach: the fusion of street and tailoring demonstrated in “Riot! Riot!” in 2001, the graphic culture of “Consumed” in 2003, and the “History of My World” in 2005. Rafuji deeply understands the themes of each collection and incorporates them into his own fashion, such as the philosophical message of ” History of My World ” in 2005. They do not just ” wear Ruff’s clothes,” but find meaning in wearing the culture and historical background that Ruff’s clothes symbolize. Raf is currently co-creative director of Prada with Miuccia Prada, so while a small percentage of Raf’s enthusiasts follow and purchase Prada, their fundamental values are different from those of those who wear Prada because it is currently in fashion. This is a very different value system from those who follow and buy Prada because it is currently in fashion. Thus, designer followers do not see clothes as just “something to wear,” but as “something that wears an idea,” and they resonate with the designer’s consistent sense of aesthetics. Therefore, they tend to follow a specific designer rather than a brand name.

Typical Type 3 who are partial to high-brand clothesFashion Investment Type──Collectors who value archival value

This type sees high-brand clothes not as mere garments but as archival pieces that have long-term asset value. This type sees high-brand clothes not as mere garments but as archival pieces with long-term asset value. Rather than following the ideology of a particular person, as designer devotees do, they choose clothes based on ” which items from which period will continue to have value in the market. For example, Raf Simons’ 2001 ” Riot! Riot!” and Helmut Lang’s 1998 archival items are fetching high prices on the resale market today. The people who collect these items do not own them simply because they “like Raf” or “like Helmut Lang,” but rather in anticipation of “the legendary value of this period and this design later on. ” They also seek out past masterpieces at auctions and on the resale market, such as Yohji Yamamoto’s 1980s wool gabardine coat or a leather jacket from Undercover’s 2003 “But Beautiful” collection. They choose clothes that are not influenced by trends, “clothes that will not lose value” and “clothes that are likely to command a premium in the market in the future. The style of this demographic is seemingly simple and sophisticated, but in fact, each piece is often composed of items that are historically valuable. What appears to be a simple, casual outfit of a white shirt and jeans may in fact be a carefully considered combination of a reconstructed shirt or Destroyinit from Martin Margiela’s Artisanal line and Helmut Lang’s original denim from the late 1990s. For them , clothes are more than “something to wear,” they are “something valuable to own, ” and their aesthetic sense supports the high-brand archive market.