Lifestyle
Will Disneyland get an Avatar land? It's likely. Here's what else may be in store
With the city of Anaheim unanimously voting to pass DisneylandForward, the Disneyland Resort will be forever changed.
Twice in the last 69 years, Disneyland has been significantly transformed. Four years after the park opened in 1959, Disneyland added its monorail, the Matterhorn Bobsleds and a submarine ride and expanded Autopia. It was a message that would begin to fulfill Walt Disney’s promise that Disneyland would never be completed.
More than that, however, it revealed that Disneyland would continue to look to the future. Disneyland in 1959 showed its guests possibilities — a transportation system in the monorail that could remake urban communities, a tease of the freeway system that would reshape travel and a glimpse at the sort of deep-sea excursions only a lucky few could witness. The Matterhorn, while inspired by the film “Third Man on the Mountain,” also was meant to be a transportive experience, to not only bring to Disneyland a new kind of thrill ride but give visitors a taste of international adventure.
Disneyland’s second reimagining came much later. In 2001 the Walt Disney Co. would open Disney California Adventure, the Grand Californian hotel and the Downtown Disney District. These additions would attempt to make Disneyland, the company’s original park, one that could, in theory, rival Florida’s Walt Disney World by becoming a resort that could demand multiday stays.
This expansion succeeded as well, but not overnight.
Dubbed DisneylandForward, the plan is not specific about what exactly Disneyland plans to build, but it asks Anaheim to relax zoning rules and give Disney flexibility to construct new rides, hotels and stores.
(DisneylandForward)
The original vision of Disney California Adventure proved to be lackluster, relying heavily on on-the-shelf rides and lacking emotion-driven experiences that take visitors out of their daily life. While the Grand Californian is a Craftsman-inspired triumph, Downtown Disney is in the midst of a transformation and is still attempting to outgrow its reputation as a home for chains and midtier eateries.
And now we’re entering a new era of possibilities, one that likely will look much different from the prior two. Modern Disney is centered on intellectual property — or IP, in corporate speak — rather than Walt-era idealism, and the most tantalizing prospects of DisneylandForward center on building around existing structures rather than erecting a new park.
With DisneylandForward, the company won the flexibility to redesign the resort. Zoning rules will be amended so that Disney can add new attractions alongside hotels on the west side of Disneyland Drive. These will, if they come to fruition, likely be extensions of Disneyland or Disney California Adventure rather than a third park. Additionally, a new shopping, dining and entertainment district can be created to the southeast on what is currently the Toy Story parking lot at Katella Avenue and Harbor Boulevard.
Company brass and the DisneylandForward materials have offered teases of what could be built. Most of these have centered on recent expansions at Disney’s international parks, such as the World of Frozen at Hong Kong Disneyland or Zootopia at Shanghai Disney Resort. There’s been little ideological talk about the future of Disneyland, as the focus has centered squarely on popular properties and franchises rather than the resort’s status as a cultural hub and gathering space.
But DisneylandForward came with a pledge. The Walt Disney Co. has promised to spend a minimum of $1.9 billion on Disneyland attractions, lodging, entertainment, shopping and dining in the next 10 years. That money can go quickly, with modern attractions costing sometimes in the high six figures, but the Walt Disney Co. also is in the midst of doubling down on its theme parks. Disney has guaranteed to spend $60 billion over the next 10 years in its experiences division, with at least half of that total dedicated to parks and resorts, according to a recent SEC filing.
It’s safe to say that the next 10 years will shape Disneyland for decades to come. While there’s much to be revealed, there are, perhaps, some safe bets. Here are a few educated guesses as to what to expect with an expanded Disneyland in the near term.
Get ready for Pandora
DisneylandForward materials reference everything from “Tangled” to “Peter Pan” to “Tron” as possible experiences that could come to Anaheim. One word, however, is missing, and it’s one that’s been regularly referenced by Disney brass in recent weeks: “Avatar.”
Disney CEO Bob Iger mentioned it at a recent shareholder meeting, even sharing the “Avatar” concept art, which was referred to as “inspirational artwork.” Josh D’Amaro, chairman of Disney Experiences, wrote in a blog post after the shareholder event that further news on Disneyland-related attractions such as the “Avatar” experience was tied to the approval of DisneylandForward.
“We are excited about the stories our guests could experience at Walt’s original theme park destination after approval of DisneylandForward — including the chance to experience all-new Avatar adventures with a visit to Pandora,” D’Amaro wrote. And last night in Anaheim, Disneyland Resort President Ken Potrock again teased “Avatar” at the DisneylandForward hearing and vote. Finally, one of Disney’s most respected theme park creatives even posted the “Avatar” concept art on Instagram, expressing the hope of sharing more on the project in the future.
Consider a large-scale “Avatar”-inspired land all but a done deal, and the art shared for Disneyland isn’t an exact replica of Florida’s Pandora — The World of Avatar, which resides in that coast’s Animal Kingdom park. Now where to put it? Expect Pandora to be bound for Disney California Adventure. There’s been speculation that it could replace the area currently served by water ride Grizzly River Run or move into a largely vacant slot of Hollywood Land, but neither is ideal. The latter requires a rerouting of the monorail, and Grizzly River Run remains a popular attraction.
Here’s betting it’s positioned in one of the DCA expansion areas near the Pixar Place Hotel, as that would allow the company to give the James Cameron property a plethora of space, especially if Disney must hide a large show building behind an illusion of floating mountains.
DisneylandForward concept art for a potential dining and entertainment district on the current location of the Toy Story Lot.
(Walt Disney Co.)
Expect more hotel options
With Disneyland lacking the acreage of Florida’s Walt Disney World, hotel prices in Anaheim are at a premium. Rooms for the recently revamped Pixar Place Hotel — Anaheim’s “budget” option — can routinely top $500 per night. More hotel space is needed, and if Disneyland goes all-in on “Avatar,” expect lodging and more entertainment options to follow close behind. Disney has long touted development of the Toy Story Lot as prime space for hotel, dining and entertainment modeled after Florida’s Disney Springs district.
The DisneylandForward materials mention the land as “the perfect location to cater to locals, conventioneers, hotel and Disneyland Resort guests with restaurants, hotels, live music, shopping, ticketed shows and theme park experiences.” A new proposed parking structure to the north would solve the parking issue, and Disney has done extensive research on this already, as it was part of an earlier, pre-pandemic planned development known as the “Eastern Gateway.”
Walkways to and from the new parking structure would connect the current resort to the new entertainment area. And while fans may want Disney to rapidly fill the available space with theme park attractions, if the resort is planning to increase capacity it’s first going to need a spot for those guests to park. Additionally, Iger at a recent media event said the company likely would hold back some of its theme park funds so the organization could move on the popularity of new films or franchises.
“We actually have a fairly good idea in the near term of what’s being built, but we’re purposefully not going to allocate it all,” Iger said. “Because who knows? In five years we can end up with a giant hit movie — think ‘Frozen’ — that we may want to mine essentially as an attraction, or a hotel or restaurant in our parks. So you want to maintain some flexibility.”
The World of Frozen recently opened at Hong Kong Disneyland. A “Frozen” experience has been teased as a possibility for Disneyland as part of DisneylandForward.
(Walt Disney Co. )
What about ‘Frozen’s’ Arendelle? Or a ‘Coco’-themed experience?
Beyond “Avatar,” which seems a sure thing as it’s been mentioned by Iger on multiple occasions, any future aspects of DisneylandForward become pure speculation. But a couple of franchises may have higher priority than others.
Disney now has a “Frozen” attraction in Walt Disney World, a land in Hong Kong and experiences in the works for Disneyland Paris and Tokyo DisneySea. Walt Disney Imagineering, the company’s secretive arm devoted to theme park experiences, clearly has done the work on bringing “Frozen” to life in physical spaces, and it stands to reason that expansions to the original Disneyland Park, with its fairy-tale feel, would go more of a Fantasyland-inspired route.
What’s more, re-creating Arendelle in the expansion plots located near the Disneyland Hotel would give Disney the opportunity to construct a second castle, as any extensive changes to park centerpiece Sleeping Beauty Castle are prohibited due to structural limitations. The enduring popularity of “Frozen” seems relatively assured at this point, so bringing the franchise to Disneyland is far from a risk.
But if the company opts to create something unique for Southern California rather than importing Hong Kong’s World of Frozen or Shanghai’s Zootopia, one franchise that seems to be routinely brought up by executives is “Coco.” When mentioning blue-sky concepts last year year at an investor event in Florida, D’Amaro teased “Coco” as a key film that has yet to be properly explored in the Disney parks.
Potrock again mentioned “Coco” in an op-ed in the Orange County Register touting the benefits of DisneylandForward, writing that the initiative could pave the way for “the chance to celebrate Dia de Los Muertos in a ‘Coco’-themed experience.” Disney California Adventure, of course, is home to a Dia de Los Muertos celebration that does center a short “Coco” show, and the property seems especially ripe for Southern California and our heavily Latino communities. That makes it an opportunity to give Disneyland an unique land not found in other parks while also tapping into the region’s diverse fan base. Walt’s original park deserves no less as it looks ahead to closing out its first century.
When John Lantigua, a retired journalist in Miami Beach, checked his email one recent morning, he was glad to see an invitation.
“It was like, ‘Come and share an evening with me. Click here for details,’” Mr. Lantigua said.
It appeared to be a Paperless Post invitation from someone he once worked with at The Palm Beach Post, a man who had left Florida for Mississippi and liked to arrange dinners when he was back in town.
Mr. Lantigua, 78, clicked the link. It didn’t open.
He clicked a second time. Still nothing.
He didn’t realize what was going on until a mutual friend who had received the same email told him it wasn’t an invitation at all. It was a scam.
Phishing scams have long tried to frighten people into clicking on links with emails claiming that their bank accounts have been hacked, or that they owe thousands of dollars in fines, or that their pornography viewing habits have been tracked.
The invitation scam is a little more subtle: It preys on the all-too-human desire to be included in social gatherings.
The phishy invitations mimic emails from Paperless Post, Evite and Punchbowl. What appears to be a friendly overture from someone you know is really a digital Trojan horse that gives scammers access to your personal information.
“I thought it was diabolical that they would choose somebody who has sent me a legitimate invitation before,” Mr. Lantigua said. “He’s a friend of mine. If he’s coming to town, I want to see him.”
Rachel Tobac, the chief executive of SocialProof Security, a cybersecurity firm, said she noticed the scam last holiday season.
“Phishing emails are not a new thing,” Ms. Tobac said, “but every six months, we get a new lure that hijacks our amygdala in new ways. There’s such a desire for folks to get together that this lure is interesting to people. They want to go to a party.”
Phishing scams involve “two distinct paths,” Ms. Tobac added. In one, the recipient is served a link that turns out to be dead, or so it seems. A click activates malware that runs silently as it gleans passwords and other bits of personal information. In all likelihood, this is what happened when Mr. Lantigua clicked on the ersatz invitation link.
Another scam offers a working link. Potential victims who click on it are asked to provide a password. Those who take that next step are a boon to hackers.
“They have complete control of your email and, in turn, your entire digital life,” Ms. Tobac said. “They can reset your password for your dog’s Instagram account. They can take over your bank account. Change your health insurance.”
Digital invitation platforms are trying to combat the scam by publishing guides on how to spot fake invitations. Paperless Post has also set up an email account — phishing@paperlesspost.com — for users to submit messages for verification. The company sends suspicious links to the Anti-Phishing Working Group, a nonprofit that maintains a database monitored by cybersecurity firms. Flagged links are rendered ineffective.
The scammers’ new strategy of exploiting the desire for connection is infuriating, said Alexa Hirschfeld, a founder of Paperless Post. “Life can be isolating,” Ms. Hirschfeld said. “When it looks like you’re getting an invitation from someone you know, your first instinct is excitement, not skepticism.”
Olivia Pollock, the vice president of brand for Evite, said that fake invitations tended to be generic, promising a birthday party or a celebration of life. Most invitations these days tend to have a specific focus — mahjong gatherings or book club talks, for instance. “The devil is in the details,” Ms. Pollock said.
Because scammers don’t know how close you are with the people in your contact list, fake invitations may also seem random. “They could be from your business school roommate you haven’t spoken to in 10 years,” Ms. Hirschfeld said.
Alyssa Williamson, who works in public relations in New York, was leaving a yoga class recently when she checked her phone and saw an invitation from a college classmate.
“I assumed it was an alumni event,” Ms. Williamson, 30, said. “I clicked on it, and it was like, ‘Enter your email.’ I didn’t even think about it.”
Later that day, she received texts from friends asking her about the party invitation she had just sent out. Her response: What party?
“The thing is, I host a lot of events,” she said. “Some knew it was fake. Others were like, ‘What’s this? I can’t open it.’”
Andrew Smith, a graduate student in finance who lives in Manhattan, received what looked like a Punchbowl invitation to “a memory making celebration.” It appeared to have come from a woman he had dated in college. He received it when he was having drinks at a bar on a Friday night — “a pretty insidious piece of timing,” he said.
“The choice of sender was super clever,” Mr. Smith, 29, noted. “This was somebody that would probably get a reaction from me.”
Mr. Smith seized on the phrase “memory making celebration” and filled in the blanks. He imagined that someone in his ex-girlfriend’s immediate family had died. Perhaps she wanted to restart contact at this difficult moment.
Something saved him when he clicked a link and tried to tap out his personal information — his inability to remember the password to his email account. The next day, he reached out to his ex, who confirmed that the invitation was fake.
“It didn’t trigger any alarm bells,” Mr. Smith said. “I went right for the click. I went completely animal brain.”
The new scam comes with an unfortunate side effect, a suspicion of invitations altogether. It’s enough to make a person antisocial.
“Don’t invite me to anything,” Mr. Lantigua, the retired journalist, said, only half-joking. “I’m not coming.”
You want to know where men’s fashion is heading? Follow the geeks.
These are the obsessives, fixated, with a NASA technician’s precision, on how their pants fit or on which pair of Paraboot shoes is the correct pair. These are the obsessives who in the aughts were early to selvage denim (now available at a Uniqlo near you!) and soft-shouldered Italian tailoring in the mode that, eventually, trickled down to your local J. Crew.
And where has the attention of this cohort landed now? On a vanguard of newish-to-the-West labels from Japan, like A.Presse, Comoli, Auralee and T.T.
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A.Presse is probably the most hyped of this cohort. What other label is worn by the French soccer player Pierre Kalulu and the actor Cooper Hoffman and has men paying a premium for a hoodie on the resale market? Kazuma Shigematsu, the founder, is not into attention. When we spoke, he wouldn’t allow me to record the conversation. Notes only.
“You mean a better-fitting denim jacket that’s based on an old Levi’s thing? Yeah, OK, sold,” said Jeremy Kirkland, host of the “Blamo!” podcast and the textbook definition of a latter-day Japanese men’s wear guy. Mr. Kirkland, once someone who would allocate his budget to Italian suits, admitted that, recently, over the course of two weeks, he bought four (yes, four) jackets from A.Presse1.
“I’m not really experimenting with my style anymore,” Mr. Kirkland said. “I’m just wanting really good, basic stuff.”
Basic though these clothes appear, their hook is that they’re opulent to the touch, elevated in their fabrication.
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Over the years, the designer Ryota Iwai has told me repeatedly that he is inspired by nothing more than the people he sees on his commute to the Auralee offices in Tokyo. When asked recently if he collected anything, he said nothing — just his bicycle.
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The true somber tale of this wave. The brand’s founder, Taiga Takahashi, died of an arrhythmia in 2022 at 27. The label has continued to plumb history for inspiration. The latest collection had pieces that drew on bygone American postal-worker uniforms.
An Auralee2 bomber looks pedestrian until you touch it and realize its silk. Labels like T.T3 make clothes that echo the specs of a vintage relic yet come factory fresh, notched up, made … well, better. They bestow upon the wearer a certain in-the-know authority.
And so there is a hobbyist giddiness present on Discord channels where 30- and 40-something men trade tips on how to size moleskin trousers by the Japanese label Comoli; at boutiques like Neighbour in Vancouver, British Columbia, where items like a $628 dusty pink trucker jacket from Yoko Sakamoto and an $820 T.T sweater sell out soon after hitting the sales floor.
What’s notable is how swiftly these geeky preferences have wiggled into the broader fashion community. While I was in Paris for the men’s fashion shows a year ago January, all anyone wanted to talk about were things with a “Made in Japan” tag. I would speak with editors who were carving out room in their suitcases for Auralee’s $3,000 leather jackets.
But these were clothes being shown away from the fashion week hordes. The A.Presse showroom was on a Marais side street in a space about as long as a bowling lane and scarcely wider that was crammed with racks of canvas, silk and denim jackets with Pollock-like paint splatters. There were leather jackets as plush as Roche Bobois sofas and hoodies based on sweatshirts made in America a half-century ago.
I got the hype. After 10 days of puzzling over newfangled stuff on the runways, the display of simple, understandable shapes we’ve known our whole lives, but redone with extra care, couldn’t have felt more welcome.
Kazuma Shigematsu, the A.Presse designer, said he had collected a trove of vintage pieces that he housed in a separate space to plumb for inspiration. He made new clothes based on old clothes that benefited from a century of small design tweaks.
By this January, A.Presse had upgraded to a regal maison facing the Place des Vosges, with giant windows and even more reverent hoodies, even more tender leathers. Back in America, I asked an online department store executive what his favorite thing from Paris was. He took out his phone to show me photos of himself trying on a zip-up leather jacket in A.Presse’s high-ceilinged showroom.
On Their Own Terms
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“We never think about trendiness or popular design details,” Ms. Sakamoto said through a translator. “It’s more like functionality, everyday use.” The label has a thing for natural dyes: pants stained with persimmon tannin, yellow ochre and sumi ink, shirts colored with mugwort and adzuki beans.
The sudden popularity of these labels outside Japan can make it feel as if they are new. Yet each label has built a respectable business within Japan, some for more than a decade. Auralee was founded in 2015. A year later, Yoko Sakamoto4 started its line. A.Presse is the relative baby of this cohort at five years old.
“A couple years ago, we would have to buy off the line sheet or go to Japan and see everything,” said Saager Dilawri, the owner of Neighbour, who has an instinct for what spendy, creative types lust after. “Now I think everyone from Japan is trying to go to Paris to get into the international market.”
This movement’s “Beatles on Ed Sullivan” moment occurred in 2018, when Auralee won the Fashion Prize of Tokyo, granting the designer, Ryota Iwai, financial support. Soon after, Auralee was given a slot on the Paris Fashion Week calendar.
“I had never seen a show before, never thought to do it,” Mr. Iwai said through a translator in February, days after his latest runway show. He has now done five.
As we talked, buyers speaking different languages entered his storefront showroom and ventured upstairs to scrutinize items like a trench coat that looked as if it was made of corduroy but was actually made from cashmere and wool and an MA-1 bomber jacket with a feathery merino wool lining peeking out along the placket.
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The Cale designer Yuki Sato travels throughout Japan to find textiles. Unusually, the company manufactures everything, including leather and denim, in one factory.
At Cale’s5 display off Place Vendôme, the designer Yuki Sato described denim trousers and pocketed work jackets as “modest, but perfectionist.” On the other side of the city, at Soshi Otsuki, whose 11-year-old label Soshiotsuki has gained attention for its warped vision of salary-man suits, I encountered buyers from Kith, a New York streetwear emporium better known for selling logoed hoodies and sell-out sneakers than for tailoring.
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Nearly a decade into its existence, Soshiotsuki has hit a hot streak. Soshi Otsuki won the LVMH Prize in 2025, and he already has a Zara collaboration under his belt. An Asics collaboration is set to arrive in stores soon.
Talking through translators with these designers, I began to worry that it might be unfair to group them together simply because they were all from Japan. Auralee simmers with colors as lush as a Matisse canvas, while Comoli’s brightest shade is brown. Soshiotsuki6 has mastered tailoring, while Orslow is known for its faded-at-the-knee jeans channeling decades-old Levi’s.
Rather, as with the Antwerp Six design clique that sprung out of Belgium in the early 1980s, it is these labels’ origin stories that thread them together.
“They’re being encountered on their own terms and respected on their own account, and they happen to be Japanese,” said W. David Marx, the author of “Ametora: How Japan Saved American Style” and a cultural critic who has lived in Tokyo for more than two decades.
“It is a new era of Japanese fashion on the global stage,” Mr. Marx said.
A Love Affair With Japan
Western shoppers have a history of falling hard for clothes from Japan. In 1981, when Rei Kawakubo of Comme des Garçons and Yohji Yamamoto crashed onto the Paris fashion scene, buyers swooned for their brainy, body-shrouding creations.
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Recently reintroduced as Number(N)ine by Takahiro Miyashita.
Years later, Number(N)ine7 and A Bathing Ape synthesized trends we would call American — grunge, streetwear and hip-hop — polished them up and sold them back to the West.
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Years before American men were trawling the internet for A.Presse, they would scour forums for deals on Visvim’s jeans and sneakers. Today, Visvim has stores in Santa Fe, N.M.; Carmel, Calif.; and Los Angeles.
Into the 2000s, clothing geeks were swapping tips on forums like Superfuture and Hypebeast about how to use a Japanese proxy service to buy Visvim’s8 seven-eyelet leather work boots or SugarCane’s brick-thick jeans.
Along the way, “Made in Japan” became a shorthand for “made well.” This was more than fetishization. As America’s clothing factories became empty carcasses pockmarking the heartland, Japan’s apparel industry grew steroidal.
“Japan still has an incredible manufacturing base for apparel that goes all the way from the textiles to the sewing to the postproduction,” Mr. Marx said.
Today, many Japanese labels produce most of their garments and, crucially, their textiles in Japan. When I first met Mr. Iwai years ago, I asked how he managed to create such lush colors. He answered, as if noting that the sky was blue, that he worked with the factories that developed his fabrics. As I spoke with Mr. Sato in January, he shared that Cale’s factory had been in his family for generations and also produced for other Japanese brands that I would know.
Chris Green, the owner of Ven. Space, a boutique in the Carroll Gardens neighborhood of Brooklyn that has helped to introduce a number of these labels to an American market, suggested that because Japan is a small country with a fervent fashion culture, a competitive spirit has been stoked.
“They have to be able to cut through the noise,” Mr. Green said, with brands trying to prove that their cashmere sweater can outclass their peers’, that their silks are sourced from finer factories. What’s more, he said, once these brands have nailed a design, they stick with it. That is something that is important to men, in particular, who hate when a brand abandons its favored pants after a season.
Before he opened Ven. Space in 2024, Mr. Green was an admirer of many of these labels, purchasing them during trips to Japan. As we spoke, he was wearing a pair of Comoli belted jeans that he bought five or so years ago. A similar style is still available.
Primed for What They Were Pitching
At the close of the 2010s, streetwear was running on fumes. Quiet luxury was entering at stage left. If the Row and Loro Piana were expert at subtle, fine-to-the-touch clothes, so, too, were the likes of T.T, Graphpaper and Yoko Sakamoto.
“I went from this guy that wears pear-shaped pants to just wearing, like, a denim jacket,” said Chris Maradiaga, a tech worker and freelance writer in Vancouver. His wardrobe today consists of Comoli’s black-as-night trousers and a purple-tinged coat by Ssstein. His kaleidoscopic Bode jackets gather dust.
That Ssstein clothes have landed in the closets of men on the other side of the world defies the early guidance relayed to Kiichiro Asakawa, the label’s bushy-haired designer. His “senpais,” or mentors, warned him that his reduced designs might leave Western audiences cold. “You need something powerful,” they told him.
He tried, but it wasn’t necessary. It’s the most minimal designs — his cotton gabardine zip-ups, his “easy” pleated trousers — that people are most interested in now. “It actually makes me very happy,” he said through a translator. “My instincts were right.” Mr. Asakawa won the Fashion Prize of Tokyo in 2024.
Adapting to North American Markets (and Men)
Several Japanese designers noted that they had modified their sizing to accommodate larger, American bodies.
“I’ll ask them, Can you lengthen the pants by three centimeters? Because you need that for the Western market,” Mr. Dilawri of Neighbour said, noting that the designers were receptive to those requests.
A number of labels, like Comoli and Soshiotsuki, are already oversize. That’s the look.
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Kiichiro Asakawa ran a Tokyo boutique, Carol, before starting Ssstein in 2016. It’s still there. He, too, said he found inspiration in the everyday, for example when watching an elderly couple have dinner across a restaurant.
There is also the matter of price. On the whole, these clothes are not cheap. See Auralee’s silk bomber jacket, which could be military surplus but feels stolen from a sultan’s palace. It’s roughly $1,700. Ssstein’s9 Carhartt cousin chore jacket with a cowhide collar and a factory-massaged fade? About $1,000. Anyone who has traveled recently in Japan, where the yen is tantalizingly weak, will tell you that these Japanese-made clothes, after being imported, are far pricier in North America.
Yet, as luxury fashion labels continue to price out the aspirational middle-class shopper, many of those same shoppers have convinced themselves that the Japanese labels are a better value. A cashmere coat at Prada is $10,000, and you’ll need $1,690 to own a cotton-blend cardigan from Margiela. Similar pieces from Japanese labels can be half that price, or less.
“Brands like Bottega, Balenciaga, the Row — all that stuff — are so unobtainable,” said Mr. Kirkland, whose clothing budget has shifted to A.Presse. “I will never be in that price bracket,” he added, “but I’m wealthy enough to buy a chore coat for $800.”
Of course, Mr. Kirkland and all of the fans of these labels could own a chore coat for far less — but then it wouldn’t be “Made in Japan.”
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