In 1984, fresh out of Bunka College of Fashion, Junya Watanabe landed a design internship at Comme des Garçons as a patternmaker. Quickly rising through the ranks, he eventually became Kawakubo’s assistant—overseeing ready-to-wear lines Tricot and Comme des Garçons Homme—and today is widely considered the heir apparent to the entire Comme universe. While operating under a similar design ethos as his mentor, Watanabe is less interested in Kawakubo’s deconstructionism but rather focuses on the role everyday work uniforms play in high-fashion. Obsessed with Americana, Watanabe collections range from motorcycle culture to punk rock and tend to include collaborations with the very same brands affiliated with the respective group he’s exploring, albeit reinterpreted through cutting-edge fabrication and material choice. The end result is clothing that references a sub-culture or style trope while still decidedly modern. Subverting expectations in a way no one else can–apart from Kawakubo, that is—Watanabe offers an alternative for those that while interested in Kawakubo’s anti-fashion aesthetic, are searching for something less controversial. Highly wearable, Watanabe makes American workwear better than any American could hope to, and in doing so has carved out a niche in the Japanese fashion landscape. If Comme collections feel a bit too far removed, Junya Watanabe offers approachable clothing that still retains some of the prized anti-establishment Comme des Garçons DNA.

Former Comme des Garçons employee Chitose Abe is arguably one of the most forward thinking designers working today—let alone in Japan. After an apprenticeship as a pattern cutter at Comme des Garçons, Abe went on to work for Junya Watanabe before founding her own label, Sacai, in 1999. Focusing on what the designer calls “hybridization”—the splicing of two garments together to create a piece greater than the sum of its parts—Abe has been exploring reworked garments for over two decades, an aesthetic liberal in both Watanabe and Kawakubo’s work. While she prefers to not define her line as distinctly “Japanese,” the way Japanese customers mix disparte items is clearly an influence, and now that the Western world is finally catching on, Sacai is on the verge of exploding. For those who adore Comme des Garçons’ ability to merge the mundane with the unexpected, Sacai takes this approach to overdrive. From varsity jackets combined with denim truckers to bandanas repurposed into coach’s jackets, Sacai fuses classic items to create entirely new creations—something old boss Kawakubo is surely proud of.

When Jun Takahashi founded Undercover in 1993, the label was at the center of the Japanese streetwear scene. While NOWHERE—the store he opened alongside friend BAPE founder Nigo—was a pillar of Ura-Harajuku, Takahashi’s own line had considerably more upscale ambitions. Equally inspired by Kawakubo and Martin Margiela, Takahashi felt fashion was the perfect way to express his seemingly disparate passions—music, film, cartoons and clothes—into one cohesive vision. By 1998, Takahashi was a well established figure in the Tokyo fashion scene, and was recognized by his idol Kawakubo, who invited him to Paris and became a patron of sorts, speaking highly of his talent to anyone who would listen. His fascination with oft-disregarded fabrics was reminiscent of Kawkubo’s early collections, and his childlike imagination and creativity was a breath of fresh air, so well-received that esteemed boutique Colette asked to host his Fall/Winter 1998 fashion show. Now regarded as one of the greatest designers in Tokyo, his label Undercover is so much more than upscale streetwear, and if Comme des Garçons signaled Japan’s arrival in Paris, then Takahashi is its second coming. More than 25 years later, no one is better equipped at navigating trend, sub-culture and media, and his countless fans are proof as such. For those interested in the Comme des Garçons legacy, Takahashi will no doubt be remembered as one of the greatest Japanese talents ever.

Since 2010, former Number (N)ine designer Takahiro Miyashita has been “The Soloist,” a single man on a mission to design some of the most darkly romantic menswear in existence. While Number (N)ine was clearly more streetwear-centric, closely resembling many Ura-Harajuku contemporaries, TheSoloist is entirely luxury—reflected by both product and price point. Still intensely inspired by music and cult films, TheSoloist invokes elements of rock, grunge, thrillers and sci-fi to create collections that occupy a lane of their own. While each seasonal offering ranges drastically–from taped seam trenches featuring violin-shaped leather appliques to patchwork jeans constructed from vintage Levi’s—the overarching aesthetic is that of craft, care and eschewing traditional codes of dress, precisely how Kawakubo began Comme des Garçons. For those seeking that unique Comme des Garçons spirit reinvigorated with a jolt of pure American cult culture, Miyashita is an auteur and TheSoloist. remains unparalleled.

Backed by renowned artist Takashi Murakami—yes that Murakami—Doublet is Japan’s answer to the new generation of contemporary luxury labels that have exploded over the past five years. While often referred to as streetwear, Masayuki Ino’s award winning label has done more for fabric development and innovation than any rival could possibly hope to. Formerly footwear and accessories designer at MIHARAYASUHIRO, Ino struck out on his own in 2012 to produce clothing that was less self-serious, equal parts camp and technical ingenuity. With items ranging from seamless see-through overshirts to T-shirts sold in airtight plastic wrapping, Doublet imbues each piece with a sense of comedy seldom found in fashion. Considering that Kawakubo has laughed at the overly pretentious and precious nature of fashion for decades, Doublet’s comedic streak is right in line with the Comme des Garçons ethos. Yet, this penchant for jokes is backed with intense research and well-respected design pedigree, which proved enough to impress the panel at LVMH, who awarded Ino last year’s Grand Jury Prize. With international recognition, the Japanese favorite has quickly expanded overseas, leading the pack amongst a new generation of Japanese talent. For those who are fans of the quirky nature of Comme des Garçons, Doublet occupies the same spirit.