除此之外，卡尔•拉格菲尔德(Karl Lagerfeld)、埃利•萨布(Elie Sab)和约翰•加利亚诺(John Galliano)等欧洲设计师长期以来一直是日本时尚的粉丝，他们到日本是为了从日本的创意中获得灵感。这是洋务世界的一个新面貌。2007年，约翰·加利亚诺(John Galliano)的迪奥(Dior)手袋系列灵感来自日本的艺术元素。日本设计师山本关西、三宅一生、高田贤三等一直在国际时尚界发挥着积极的作用。他们的工作获得了重要的评价。正如时装历史学家兼策展人理查德·马丁所说，“我们西方人已经看到日本服饰改变了我们的世界……如果不考虑日本设计的实质性贡献，就不可能描述和分析20世纪晚期欧美的时装”(马丁，1995年，第215页)。山本和川久保玲(Kawakubo)在巴黎展出的服装，在时装设计方面代表着对西方传统的背离，进一步挑战了与美丽和性别有关的长期观念。
欧洲媒体以越来越快的速度注意到日本革命性设计对时尚的不可否认的影响。在富裕的欧洲时装公司的独裁统治下，日本的设计师们没有任何义务去尝试面料和形状，而且他们经常会做出一些新的东西。随着逻辑的发展，许多人开始将日本的现代设计视为艺术作品，同时也引发了越来越多的情感，在1982年的《国际艺术论坛》(Artforum International)的封面上，出现了三宅一雄(Issey Miyake)的竹胸衣。资深设计师森花奈(Hanae Mori)表示，日本人对于西式服装似乎没有悠久的传统，因此，年轻一代的设计师相当自由。尽管对各自设计的诠释存在任何争议，但山本和川久保玲宽松合身、低调低调的风格也开始在欧洲定义新的着装方式。
对于欧洲女性来说，日本时尚的吸引力在于其高品质的实用性、做工和纺织品在休闲健身中的运用，给人一种全新的动感和自由感。随着女性对前卫时尚的兴趣增强，一些零售商发现，主要客户在衣柜中吸收了Comme des Garcons的部分西方风格。As per Dorsey (1983;第8页)，“这些日本风格的西方穿着者很少会提出设计师在t台展示整套服装的建议。显然，纽约女性更喜欢将一两件衣服与西方风格结合起来。同样明显的是，如果这种层次感能让穿着者看起来更胖一些，就能让人感到身处时尚前沿的满足感。”
Apart from this, European designers such as Karl Lagerfeld, Elie Sab, and John Galliano have been fans of Japanese fashion since long and have been going there to be inspired by the creativity. This tends to present a new aspect with the world of westernization. In the year 2007, John Galliano was inspired out of the artistic elements of Japan for his collection of Dior Handbags. Designers of Japan such as Yamamoto Kansai, Miyake Issey, and Takada Kenzo had played an active role continuously in the international world of fashion. They won significant appraisal for the work they did. As per Richard Martin, a fashion historian and curator, “we in the West have seen our world transformed by Japanese dress…It is impossible to describe and analyze late twentieth-century fashion in Europe and America without taking account of the substantive contribution of Japanese design” (Martin, 1995, p.215). The garments exhibited by Yamamoto and Kawakubo in Paris ended up representing a departure out of the Western convention under fashion design that further challenged long notions related to beauty and gender.
At an increasing rate, the European media has noticed the undeniable effect of the revolutionary designs of Japan on fashion. Not in any obligation under the dictatorship of enriched fashion houses of Europe, the designers of Japan can be seen experimenting with fabric and shape, and often they end up doing something new. Progressing with logic, many started considering modern designs of Japan as art works, while initiating a growing sentiment, featuring bamboo bustier of Issey Miyake on the cover of Artforum International (1982). With an acknowledgment of creativity among the young age countrymen, Hanae Mori, a veteran designer stated that the people of Japan do not seem to have a long tradition for the clothes of Western style in Japan, and hence, the young age designers are considerably free. Irrespective of any debate in concern with the interpretation of respective design, the loose fitted and understating style by Yamamoto and Kawakubo started defining the new way of dressing in Europe as well.
For the women of Europe, the appeal regarding fashions of Japan had been found in the super quality practicality, workmanship, and textiles uses in the relaxed fitness, permitting a new sense of movement and freedom. As the interest of woman among fashion of avant garde enhanced, a number of retailers identified that the key customer assimilated pieces of Comme des Garcons within the wardrobes of western style. As per Dorsey (1983; pp. 8), “Western wearers of these Japanese styles seldom initiate the designers’ runway suggestion of a complete outfit. Clearly, New York women prefer to integrate a piece or two with Western styles.Just as clearly, if this layering makes the wearer look somewhat heavier, there is the satisfaction of being on the cutting edge of fashion”.