雑誌『流行通信』で1999年から2006年にかけて掲載され、その後2008年に書籍化された、収集というカルトへの賛歌でもある都築響一の名作『着倒れ方丈記 HAPPY VICTIMS』の復刻新装版。

本書が捉えるのは、有名人でもモデルでもない、ごく普通の人々の「ファッションへの偏愛」です。コム・デ・ギャルソンを蒐集する僧侶、マルタン・マルジェラと300円の古着を着こなす会社員。東京の決して広くはない部屋で服に埋もれて暮らす彼らの姿を、ある日の一日の記録とともに収録しています。SNSで誰もが「ライフスタイル」を発信する以前、服への純粋で偏執的な愛は、より個人的で切実な物語でした。本書は、大量消費時代における「幸福な犠牲者（Happy Victims）」たちの肖像であり、そのあり方は今、より一層ラディカルに私たちの目に映ります。今回の新装版では、都築響一による新たな序文と、編集者イザベラ・バーレイ（Climax Books）によるエッセイを収録。Apartamentoによる美しい装丁も魅力です。ファッションとは、収集とは、そして豊かさとは何かを問い直す、都築響一の代表作の一つ。全編英語表記。

First appearing in the fashion magazine Ryuko Tsushin between 1999 and 2006 and later published in book form in 2008, the cult classic Happy Victims—itself an ode to the cult of collecting—is set to be reissued by Apartamento on July 8, 2025. The new hardcover design comes with an updated foreword by the author, Japanese photographer Kyoichi Tsuzuki, and an introduction by Isabella Burley of Climax Books.

The premise of Happy Victims is still oddly subversive: a fashion magazine that actually engaged with the people who, very literally, bought into the universe and the publicity of the brands they worshipped. It’s not fashion as we’re usually asked to consume it, where ‘beautiful models live beautiful lives wearing beautiful clothes in beautiful homes’. Here we see a Buddhist monk with a Comme des Garçons shopping habit and an Alexander McQueen collector listening to neighbours through paper-thin walls, among others. Photographed at home in Tokyo, with their collections before them, these anonymous disciples joyously detail the ritual and the sacrifice of their brand-name obsessions. Kyoichi’s anti-heroes exist in parallel to the fashion universe of fame, fantasy, and glamour.

While the cover and belly band have been completely reworked, the book’s interior maintains a simple, documental format: one happy victim per spread, Kyoichi’s photos supplemented by a short commentary on the individual and his or her daily schedule. Not typically members of the leisure class, the goths, Lolitas, and stringent Margiela fans must also go to work and find time to care for their clothes. Underlying this sense of relatability is the equal sense that Happy Victims would be hard to reproduce today, when ‘storytelling is manufactured and marketed for the masses’ on social media, and the fashion industry itself has become ‘an infinitely fragmented, diffuse cultural phenomenon’, having lost ground to both fast fashion and street-level trends.

Kyoichi is by turns tender and teasing with his happy victims, rejecting all received wisdom that puts them at the bottom of a mythical hierarchy of collecting and celebrates more ‘respected’ collectors of books, art, or music. They’re ‘magic’ to his eyes. And anyway, Isabella concludes, ‘In 2025, aren’t we all happy victims?’

This edition is the latest in Apartamento’s reissue of design classics, including Kyoichi’s earlier seminal work, Tokyo Style; Leonard Koren’s Arranging Things; and Dominique Nabokov’s renowned Living Rooms series.

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Pages: 184
Size: 230 x 300 mm
Hardcover
Color
Signed by Kyoichi Tsuzuki

published by APARTAMENTO, 2025