I think the M65 jacket is a strange piece of clothing.

It's a classic field jacket and an icon of the Vietnam War. Despite its association with war, it has been cherished in a fashion context for a long time.

Its trajectory is somewhat similar to denim.
It was treated as a symbol of rebellion, and as a result, it became fashion.

I am drawn to clothes that have such a slightly twisted origin.

First Encounter

My first M65, I believe, was an M65-style jacket from an imported street brand that I bought when I was 17 or 18. It came in a wooden box and was limited to 100 pieces worldwide. That was my somewhat superficial motivation.

Looking at it now, I'd say it was made like a toy. But I don't mean that in a bad way. That's just how things were made back then.

My interest in authentic M65s shifted after I started working on patterns. When I approached it as a job, honestly, it fell into the category of being quite troublesome. The hood is almost always omitted, and many parts are easily replaced. But within that trouble, I began to see a structure.

What I Referenced

The 1st, 2nd, and 3rd models are often discussed, but it's always about the details. Are the silhouettes really the same? That's what piqued my interest and led me to dig deeper.

In my view, the basic structure is the same. I haven't taken apart and compared identical individual pieces, but at least the fundamental design hasn't changed significantly. It's within the margin of error. A little disappointing. But it cleared things up. It was the moment the structure I associate with the M65 jacket was solidified in my mind.

What I Chose and What I Discarded

Based on that, I chose the 1st model. First, I liked that it didn't have epaulets. The 2nd model, in its evolution, has some parts where the sewing is forced. The 3rd model is quite complete in terms of production. That's why I chose the 1st.

The interesting thing is the blend that comes from being unfinished.
I believe there's a unique charm in things that aren't perfectly organized.

For the fabric, I chose 100% cotton back satin. The M65 at the time was cotton-nylon, but this time I was thinking of the M43 and M51. This fabric was created by a fabric professional specializing in military fabrics, who independently analyzed the M51. It has a more substantial feel than the M65. When replaced with ecru, that weight was just right.

The lining is cut raw. I think this specification is frankly unthinkable in modern manufacturing. However, the outer fabric is cut raw, yet the shoulder of the lining is chain-stitched, which makes me wonder what was considered good when the sewing was assembled. As someone who enjoys pondering those times, I couldn't help but adopt it.

The gusset at the cuffs is another example. This specification significantly increases the difficulty of sewing. For this reason, the cuff structure itself changes significantly in the 3rd model. However, considering the contrast and appearance created by the thin, different fabric, the 1st model clearly wins out. This is also one of the reasons I avoided the 2nd model.

In terms of going all out, I couldn't leave out the hood either. That hood stored inside the collar's zipper. When worn casually, it might not get much use. But, of course, I've included it. Because not designing means doing as much as possible.

The Completed Look

Actually, I had a somewhat hard-to-use image of the M65 jacket. I myself was a bit uncomfortable with it. But when I actually made and wore it myself, that wasn't the case at all. Moreover, there's a great sense of security from the protective feel of the cotton back satin. I'm experiencing firsthand why it's a masterpiece.

An icon of war became a symbol of rebellion, and then became fashion.
We are making the 1st model of that garment in ecru.
Embracing a structure that seems to move towards completion while remaining unfinished, and reinterpreting it as contemporary clothing.
That is FUKUBORI's M65.

M65 FIELD JACKET →