Research N°II - souvenir
Documented by Eastwood Studio, a research and creation studio
HISTORICAL CONTEXT
From 1945 onward, in post-war Japan, many American soldiers were stationed for long periods across the archipelago. As their return home approached, they sought souvenirs that would reflect their experience within a culture both fascinating and new.
It was in this context that the first souvenir jackets were born: reversible embroidered pieces, either custom-made or purchased from shops located around military bases.
At the crossroads of two worlds, these garments combined American-inspired cuts (such as bomber or varsity jackets) with iconic motifs drawn from the Asian imagination: dragons, tigers, birds, landscapes, and maps.
The city of Kiryu, historically renowned for its textile expertise (silk, dyeing, embroidery), became a major production hub. At its peak, more than 25 workshops were creating these jackets and distributing them throughout Japan.
Within just five years, it is estimated that over 20,000 souvenir jackets were produced there.
Artisans employed traditional techniques such as yokoburi, going far beyond standard industrial processes.
With the economic boom of the 1950s—driven in part by the Korean War—production became more structured, and the souvenir jacket was democratized, reaching even the remote U.S. bases in Alaska. The term sukajan appeared somewhat later, in reference to Yokosuka, the port city where these jackets were widely circulated among American troops.
Between personal souvenir, artisanal craft, and fashion object, the sukajan quickly became a cultural emblem.
It embodies a moment of encounter between American aesthetics and Japanese craftsmanship.
It is within this history of exchanges, narratives, and heritage that our collection finds its inspiration today.
SOUVENIR JACKET
Souvenir jackets originated in post-war Japan. They were commissioned or purchased by American soldiers stationed there, often through PX (Post Exchange) shops located within military bases, as mementos of their deployment overseas.
Locally crafted in Japan, these jackets combined American cuts (such as bomber or varsity styles) with Japanese artisanal embroidery, frequently depicting dragons, tigers, maps, or landscapes. The embroidery was executed using the yokoburi technique.
Each piece thus became a personal textile souvenir, blending military culture, craftsmanship, and identity expression. They carry a unique memory between East and West.
yokoburi EMBRODERIES
Yokoburi is a semi-mechanized embroidery technique dating back to the Taishō era, carried out using a lateral-motion machine such as the Singer 107W102.
Unlike traditional linear-motion machines, these models allow for freehand-style drawing, closely resembling hand-drawn lines.
The artisan manually guides the fabric to follow the pre-transferred motifs, creating embroidery that is raised, richly textured, and nuanced.
Today, fewer than two workshops in the world still master this technique, making yokoburi a rare and precious textile heritage.
Unless made as a personalized order, the embroidery is based on the use of specific templates. These templates are crafted from a special paper impregnated with kakishibu—a waterproofing and hardening liquid extracted from persimmons—which is then cut according to a hand-drawn design.
Once the template is completed, it is placed over pre-cut fabric pieces and covered with a mixture of zinc powder and glue applied with a brush. This process transfers a white outline onto the fabric, serving as a guide for the artisans, who then carry out the embroidery using a specialized sewing machine. Even when using the same template, each embroidery is unique: the artisan’s skill and sensibility shape the final result. No two lines are ever perfectly identical.
Today, only a few of these precious embroidery templates are carefully preserved. Though they are usually kept away from public view, EASTWOOD STUDIO has the rare privilege of using original matrices for its creations.
Nishijin-ori is a traditional weaving technique originating from the Nishijin district in Kyoto, developed from the 15th century onward. This textile is distinguished by the use of individually dyed silk threads, creating visually rich, colorful, and embossed patterns, often inspired by nature and Shintoism.
Locally crafted in Japan, these jackets combined American cuts (such as bomber or varsity styles) with Japanese artisanal embroidery, often depicting dragons, tigers, maps, or landscapes. The embroidery was executed using the yokoburi technique.
Each piece thus became a personal textile souvenir, blending military culture, craftsmanship, and identity expression. They carry a unique memory between East and West.
Nishijin-ori is considered one of the most refined weaving traditions in Japan, passed down from generation to generation, uniting technique, aesthetics, and memory. Although most Souvenir Jackets were produced in rayon satin, some extremely rare pieces feature this exceptional fabric.
NISHIJIN-ORI
