In the Archive: Naue’s Curated World of Hysteric Glamour

From the Hysteric Glamour posters plastered across their walls to the rare ’90s Hysteric doodle rabbit tote casually hanging on the side of their door, Naue’s space reflects their love of fashion and art—as well as their deep appreciation for Hysteric Glamour. It’s like a mini museum of everything that makes them who they are, and their fascination with ’90s Japanese fashion feels fitting.

Hysteric Glamour has become a coveted brand for young people finding or establishing their way in fashion and style today. Seen in FRUiTS magazine, worn by celebrities like Christina Aguilera and Lindsay Lohan, and spotted on Brad Pitt in the cult classic Fight Club, the brand has long held a rebellious underground appeal. Its founder, Nobuhiko “Nobu” Kitamura, even appeared in Lost in Translation (2003), further cementing Hysteric Glamour’s connection to countercultural cool. Today, a new generation is rediscovering the brand, taking inspiration from the past while making it their own—and Naue is no exception.

Founded in 1984, Hysteric Glamour was Kitamura’s way of merging his love for art, music, and countercultural influences with fashion. The brand’s identity is deeply rooted in ’60s and ’70s American pop culture, rock music, and underground subcultures. In an interview with Dayz Archives, Kitamura explained that Hysteric Glamour was built on a worldview that had never existed before—one centered on individuality and personal identity. He designed clothing with the idea that future generations would one day find his pieces in thrift stores, just as he had gravitated toward unique finds when he was younger.

Now, people like Naue—also known as @boypr1ncess—scour online resale platforms like Depop or Mercari to track down one-of-a-kind Hysteric Glamour pieces, as they are rarely found in regular thrift stores. Over time, collectors build extensive archives, carefully sourcing rare designs and creating their own personal time capsules. Wearing a smile on his face, along with the 2022 Undercover for Nobuhiko Kitamura 60th 

Anniversary Party T-shirt, Naue sits with FORM to talk about his affinity for the brand, how it inspires them, and their Hysteric Glamour collection.

FORM: Who are you, what do you do, and what inspires your style?

NAUE: I’m a college student from Portland, Oregon, majoring in computer science. I feel like my style is primarily derived from late ’90s and early 2000s Japanese fashion—essentially what was trending among younger people at the time and what was popular in street fashion publications. I know FRUiTs magazine is probably the most well-known in the West, but there were other publications like KERA and CUTiE that I also took a lot of inspiration from.

With my collection, I’ve been able to build a wardrobe made entirely of vintage pieces from that era, and most of my Hysteric Glamour collection is specifically from that time. There’s a quote from Lynn Yaeger that goes something like, “If you want to know more about fashion, you should study everything but fashion.” I find that interesting because many of my other interests also stem from this time period—whether it’s music or media like Ai Yazawa’s manga Nana or Visual Kei bands like L’Arc-en-Ciel. I feel like my style is heavily influenced by this era, when people had a really playful approach to fashion but also incorporated a bit of edge. A lot of styles at the time were also influenced by the UK’s punk subculture, and I take inspiration from that as well to create my own unique look.

FORM: Perfect. You know what’s funny? I was literally thinking about that quote this morning, too—like, I feel like I dress well because I have so many other interests outside of fashion. So it’s funny that you mentioned that. How did you discover Hysteric Glamour, and what drew you to the brand?

NAUE: I discovered Hysteric Glamour around 2020. During that time, especially with people being online more due to the pandemic, there was an influx of Japanese street snaps on Pinterest, and, like I mentioned, FRUiTs magazine. That style became somewhat trendy. I also know that proxying from Japan became popular. Brands like Angel Blue started appearing frequently on resale sites, and Hysteric Glamour was another one. 

In the same way that designer brands are unattainable for many people and are cool because of that exclusivity, Japanese brands like Hysteric Glamour and Angel Blue became desirable in that way. That’s how the brand came onto my radar—like, “This is a cool thing, but I don’t know if I’d be able to get it myself.” There’s a YouTuber, Ariel McKenna, who used to do secondhand hauls from Japan, and watching her videos inspired me to start searching for pieces myself. I started watching her in 2021, but I didn’t make my first purchase until early 2022. Now, I’ve been buying Hysteric Glamour for almost three years. 

What drew me to the brand was its balance of playfulness and edginess—the way those two elements mix together just felt natural to me. It aligned with how I wanted to express myself.

FORM: So before 2020, would you say your style was drastically different from after you found Hysteric Glamour?

NAUE: I would say it was drastically different, yeah. Getting into Hysteric Glamour pushed me to be more experimental with my style. It took me out of my comfort zone and helped me hone in on self-expression through fashion.

FORM: What ideologies from Nobu Kitamura do you resonate with?

NAUE: One of the things that’s really important to me is expressing my interests through what I wear. With the bag charm trend, people used keychains or pictures to reflect their interests, and I do the same thing but through my clothing. Hysteric Glamour reinterprets Americana influences from Kitamura’s childhood—things like ’60s and ’70s American paraphernalia—and he expresses those influences through his designs. I really connect with that nostalgic aspect—paying homage to past eras speaks to me, especially since my style is rooted in a time decades ago. That value resonates with me strongly.

FORM: We’ve already kind of touched on this, but how does Hysteric Glamour shape or reflect your personal style?

NAUE: It’s been really interesting to see how my taste in the brand’s clothing has evolved over the past three years. Hysteric Glamour has been around since 1984, and they’ve gone through a lot of stylistic changes over time. Even now, when I search for pieces, I still come across designs I’ve never seen before. 

Within the brand, there are different styles people gravitate toward. I’ve noticed a big distinction between what’s listed on Grailed versus Depop—there seem to be different target audiences on those platforms. Personally, I’ve refined my taste over time and curated my wardrobe not just with Hysteric Glamour but with my clothing in general. Most of my pieces are from a specific era of Japanese fashion that I’m interested in, and that’s still true even within my Hysteric Glamour collection. The brand and the pieces I own reflect my particular fashion interests, and I think that’s really cool.

FORM: What was the first Hysteric Glamour piece you purchased?

NAUE: When I was first figuring out my style, I used to get a bit carried away. I mentioned before how there’s a certain desirability behind the brand, so I actually don’t own anything I originally bought at the start. In the beginning, I purchased a lot of things that I didn’t end up wearing much. It was a learning process—I was still figuring out what resonated with me.

The oldest piece I currently own, though, is a pair of typewriter jeans from August 1996. I bought them about a year after I started collecting. A lot of my pieces are ones I specifically sought out after seeing them in old magazines or publications. These jeans are really special to me—they’re my go-to when I don’t know what to wear. The print on them has a very futuristic feel despite being from the ’90s. Sometimes, older designs can look futuristic because they’re unfamiliar to us now. That essence is embedded in these jeans, and I haven’t really seen anything like them.

FORM: Is there a reason why you kept those and not the other pieces you had?

NAUE: Many of the pieces I had before were more current and didn’t really fit with the era I dress in or my overall wardrobe, so I ended up selling them.

FORM: And why did you continue purchasing more Hysteric Glamour pieces?

NAUE: Initially, it was because I thought the brand and its style were cool. I’ve always had a deep fascination with Hysteric Glamour because of how extensive their catalog of designs is. They’ve been around for over 40 years, and I feel like I’ve gotten pretty good at identifying the periods certain pieces are from—yet I still come across items I’ve never seen before. That ongoing discovery remains a big part of my fascination. Learning more about the brand pushes me to build my collection with pieces that reflect how I want to dress and present myself.

FORM: What are your favorite types of pieces from Hysteric Glamour?

NAUE: My favorite pieces are the late '90s designs featuring the little animal characters. I have a few items with those as well. Many of the characters are repeated throughout different pieces, often with slight variations, and I find it interesting how the brand reuses the same iconography across different graphics. There’s a certain charm and youthfulness to it that reminds me of childhood, adding an element of fun to an outfit. It has a nostalgic quality that ties back to Kitamura’s values—expressing his interest in older aesthetics through clothing. Plus, I just think they’re really cute.

FORM: What do you think sets Hysteric Glamour apart from other brands that emphasize logomania in their designs?

NAUE: The first brand that comes to mind is Supreme with its box logo, and Hysteric Glamour has actually collaborated with them, which I think is cool. While Hysteric Glamour has some popular designs, they don’t have a single, universally recognized logo that appears on every piece. Their approach isn’t as uniform as a lot of other brands. Even though they’re very logo-centric, they keep it fresh by presenting the brand name and logo in different ways. Also, many Hysteric Glamour designs are instantly recognizable even without featuring the brand name, which is a powerful distinction alongside their use of logomania.

FORM: Are there any methods you use to ensure the pieces you’re buying are authentic?

NAUE: I’ve had a lot of people DM me or leave comments asking for help authenticating pieces they’re looking to buy. Personally, I’ve never had too much trouble, except with super iconic pieces like the Hagi denim, which I no longer own. I always buy from listings that include clear photos of the wash tag and back tag. Since I’ve spent so much time researching and purchasing pieces, I’ve become pretty familiar with the details. It also comes down to experience—when you’ve seen a lot of the same pieces and know how the tags should look, it becomes easier to spot fakes.

FORM: What is the most challenging part of being a collector?

NAUE: Having the patience to find a specific piece you’re looking for. Many of the pieces I own were sourced from older magazines I have, so it often becomes a waiting game to see if they pop up on resale platforms. I got into the habit of searching daily on the same sites, and eventually, I’d find what I was looking for. You have to be persistent and patient to get the right piece at a price you’re willing to pay. I’ve come across items I wanted but couldn’t justify the price, so I had to wait for a better deal. Patience is key.

FORM: Do you have any rare pieces?

NAUE: This sweater. I have a magazine with a picture of a girl wearing it, and I had seen it on Depop before. There are certain pieces from specific brands where I know the price is never going to drop below a certain point. I was sure this sweater wouldn’t sell for under $300, and it was tough to find. I first found it on a Japanese resale platform, but the seller canceled my order for no reason. Eventually, I came across another listing for $150, so once again—patience is key. It’s one of my rarest finds, not just because of the piece itself but also because of the price I got it for.

FORM: Is there a community of Hysteric Glamour collectors? How strong and supportive are they?

NAUE: I’m not really sure. I know there’s a community of people on Instagram who are interested in Japanese fashion. I was more involved in it in the past when I was buying and selling clothes more frequently—people would resell and trade pieces through their Instagram shops. Most of them would carry some Hysteric Glamour items, but I haven’t seen anything specifically dedicated to the brand as a community.

FORM: How do you see being a collector of such a unique brand fitting into larger conversations about global issues like fast fashion and environmental impact?

NAUE: I mentioned earlier that I sometimes get carried away buying from a brand I admire and think is cool. With proxying and international shipping, there’s definitely a lot of waste involved in that process. So as a collector, I think it’s important to be intentional with what you’re purchasing. Even with secondhand shopping, you can still contribute to overconsumption. Being mindful of that helps in staying environmentally conscious.

FORM: Do you think Hysteric Glamour is becoming more globally recognized, or does it remain a cult brand?

NAUE: I still think it’s a cult brand, even though it’s become more popular. Looking at their

different social media platforms, I don’t think they’ll ever struggle in terms of sales. Given how

long the brand has been around and how prevalent its vintage pieces are on global resale

platforms, I don’t see it losing the status it holds.

FORM: Do you follow the brand’s evolution over the years through its collaborations? Any thoughts?

NAUE: I’m not the most knowledgeable about what’s currently happening with the brand, but I know they’ve collaborated with Playboy, which makes sense given their history of using provocative graphics. Their collaboration with Supreme also made sense—Hysteric Glamour has always incorporated profanity in its slogans. There was also an Andy Warhol collab, which felt fitting because in the ’90s, Nobu Kitamura was supposed to meet Warhol, but they missed each other and never got the chance.

They’ve also collaborated with various rock bands, which is another reason I was drawn to the brand—I listened to the same bands Nobu liked, like Iggy and the Stooges, New York Dolls, Nirvana, etc. I’ve been to two of their stores in Japan and found it interesting that many of their newer designs are just reproductions of their vintage pieces, with slight tweaks to the graphics and cuts. Many brands that emerged during the era of fashion I’m interested in have modernized and adapted to current trends, but material quality has declined—there’s a lot more polyester now. That’s why I prefer buying vintage pieces secondhand. It’s also why I haven’t kept up with the brand’s newer releases—I just don’t find them as interesting.

FORM: How is Hysteric Glamour culturally relevant in fashion today?

NAUE: Hysteric is definitely a gateway for people who are just starting to develop an interest in fashion. For me, it was a stepping stone in carving out my own style and figuring out how I wanted to engage with fashion and self-expression. I’ve seen people in fashion communities online buy and sell Hysteric Glamour pieces, and it’s interesting to see how much their styles evolve over time. Kitamura’s approach—imbuing his personal interests into his designs—is really inspiring to people. Like many collectors and fashion enthusiasts today, my journey with Hysteric Glamour reflects a broader conversation about young people seeking individuality through history, subculture, and exclusivity—then making it their own. In a time when fashion moves faster than ever, brands like Hysteric Glamour remind us that fashion is about what resonates, what lasts, and what feels like home. That seems to be what Kitamura wanted from the start—and more.

Author: Angel Agbontaen (@mp3girl000)