Keisukeyoshida Tokyo Spring 2027
To do it, Yoshida looked at the power blazers and souvenir T-shirts that populated catalogues in the 80s and 90s, and mixed them with the businesslike eroticism he has made his signature, cinching the waists of safari jackets and office shirts to exaggerate the broad-shouldered V-shaped silhouettes. “By tweaking the shape or adding a subtle touch, I wanted to elevate them into something more elegant and sophisticated,” he said. Once a bastion of fashion retail in Tokyo, the iconic department store will close its doors in September after 58 years in business, consigned to the rapidly expanding graveyard of fashion’s golden age.
- ▪To do it, Yoshida looked at the power blazers and souvenir T-shirts that populated catalogues in the 80s and 90s, and mixed them with the businesslike eroticism he has made his signature, cinching the waists of safari jackets and office shi
- ▪“By tweaking the shape or adding a subtle touch, I wanted to elevate them into something more elegant and sophisticated,” he said.
- ▪Once a bastion of fashion retail in Tokyo, the iconic department store will close its doors in September after 58 years in business, consigned to the rapidly expanding graveyard of fashion’s golden age.
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Story provenance
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Record
| Original publisher | Vogue |
| Canonical URL | https://www.vogue.com/fashion-shows/tokyo-spring-2027/keisukeyoshida |
| Publication time | Tue, 21 Jul 2026 07:03:20 +0000 |
| Retrieval time | 2026-07-21T07:07:04.087Z |
| Last seen | 2026-07-21T07:07:04.087Z |
| Headline source | Publisher (no WeSearch rewrite) |
| Excerpt source | publisher body |
| Excerpt method | First ~120 words (~800 chars) of extracted publisher body, fair-use limited. |
| Summary | WeSearch · cerebras-chat (WeSearch summarizer) |
| Summary source text | contentText |
| Citation coverage | Summary is a WeSearch-generated derivative; primary citation is the original publisher URL. |
| Cluster | RUbw4ViAOOgM · 2 stories |
| Cluster logic | Grouped by semantic title/content similarity across sources within a rolling window. Same-publisher template collisions are excluded from coverage comparison. |
| Ranking reason | Story pages are not engagement-ranked. Hub feeds use recency, with optional source-diversified chronological ordering (cap consecutive stories per source). No personalized ranking. |
| Publisher visit | Yes — open original |
| Substitutes article? | No — link-out required for full text |
Rights status (four layers)
WeSearch handling by dimension
| Indexing | May the item be indexed (stored, ranked, made findable)? | Allowed |
| Snippet | May a short excerpt of the publisher's text be shown? | Allowed |
| AI summary | May WeSearch generate its own short summary of the article? | Limited |
| Retrieval / RAG | May the content be exposed for third-party retrieval-augmented generation? | Not asserted |
| Model training | May the content be used to train AI models? | Not asserted |
| Commercial reuse | May the content be reused commercially? | Not permitted |
Basis: Derived from the published RSS/Atom feed. Contact: [email protected]. Reviewed: 2026-07-24.
Opening excerpt (first ~120 words) tap to expand
Like many millennials who came of age around the time of the global financial crisis, Keisuke Yoshida grew up with an idea of fashion that has all but disappeared.Enamored by the glamor of the department store he would walk past on his way to school—the sharp-elbowed mannequins in the window wearing Donna Karan or Ralph Lauren, the scent from the perfume counter drifting through the air—it represented a fantasy, sure, but one that wasn’t as distant as it is today.“Back when I was a student, a Dries [van Noten] shirt cost around 30,000 yen—something you could manage to buy if you really tried—but now, that’s impossible,” he said.
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Excerpt limited to ~120 words for fair-use compliance. The full article is at Vogue.
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