Studio D'Artisan D1913 Men's Amami Dorozome Mud-Dyed Jeans, 15 oz. Japanese Brown Denim Woven on a Vintage Toyoda GL3 Loom, Regular Straight Fit, Button Fly (SDA D1913 Brown)

Size and Fit Guide:

Gender: Men.

Our model is wearing a tagged size 30. He stands 5'9" (175 cm) tall, weighs 127 lbs (58 kg), and has a chest measurement of 36 inches (91 cm). His usual size in U.S. denim is W29.

Fit: These jeans feature a classic regular straight fit with a mid rise, a button fly, and a full-length silhouette. They provide moderate room through the seat and thighs, followed by a very slight taper from the knees to the leg openings. The shape is neither too slim nor too loose, maintaining the natural, balanced profile of traditional straight-leg jeans. This garment has been dyed and one-washed to reduce initial shrinkage and provide a more comfortable feel from the beginning. To ensure the best fit, please refer to the actual garment measurements listed below. All measurements are taken with the garment laid flat and are provided in both centimeters and inches. Please note that slight variations may occur due to manual measurement. Fit may also vary depending on the rise, waist position, overall cut, fabric character, and individual preference. For best results, we recommend comparing these measurements with a similar pair of jeans or pants you already own.

Available sizes: 29, 30, 31, 32, 33, 34, 36, 38, and 40.

[Approximate Size Reference]

The size information below is intended only as an approximate general guide. Because the fit of jeans and pants can vary depending on the rise, overall cut, and where you prefer to wear the waistband, the following should be used only as a rough point of reference and not as an exact size conversion.

Tagged Size 29: Approx. usual waist size 28.0-28.3"
Tagged Size 30: Approx. usual waist size 29.0-29.5"
Tagged Size 31: Approx. usual waist size 30.0-30.3"
Tagged Size 32: Approx. usual waist size 31.0-31.5"
Tagged Size 33: Approx. usual waist size 32.0-32.3"
Tagged Size 34: Approx. usual waist size 33.0-33.1"
Tagged Size 36: Approx. usual waist size 34.5-35.0"
Tagged Size 38: Approx. usual waist size 36.0-37.0"
Tagged Size 40: Approx. usual waist size 37.5-37.8

Please note that the approximate size references above are offered only as a general guide for customers who usually wear similar tagged waist sizes. Actual fit may still vary depending on the rise, overall cut, fabric type, fabric weight, fabric stiffness, and where you prefer to wear the waistband. Because fit cannot always be judged by waist size alone, these references should be used only as a rough practical guide.

[Actual Garment Measurements]

For additional reference, the actual garment measurements are provided below. For a more accurate sense of fit, please use these measurements as a reference and compare them with a similar pair of jeans or pants you already own.

In inches

In centimeters

When selecting your size, please use the actual garment measurements as your primary reference rather than relying on the tagged size alone.

[How We Measure the Actual Garment]

The garment is laid flat, face up, and measured by hand with a measuring tape.

Waist: Measure straight across the top of the waistband from side to side, then double that measurement to get the full waist size.

Inseam: Measure from the crotch seam down to the bottom of the leg along the inside seam.

Front Rise: Measure straight from the crotch seam, where the inseams meet, up to the top edge of the front waistband.

Thigh: Measure the width of the leg about 3 cm (approximately 1.2") below the crotch seam, straight across from one side to the other.

Leg Opening: Measure straight across the bottom hem of one leg, from one side to the other. This measurement represents the leg opening width.

Please note: the waist measurement shown in the table should be used only as a general reference and should not be taken as a direct equivalent of your usual tagged waist size, as the fit may vary depending on the rise, overall cut, and where you prefer to wear the waistband.

Please also note that vintage-inspired garments made in Japan may fit differently from general international sizing due to the way they are designed and made to preserve a more traditional vintage character, including the rise, overall pattern, construction, and fabric character.

Because this garment has been dyed and one-washed, most initial shrinkage has already been reduced. However, slight shrinkage or stretching may still occur depending on washing, drying, and wear. If you prefer a little more room in the waist from the start, you may wish to consider one size up.


Made in Japan.
Brand new with tags, in unused condition.
*All measurements are taken with the garment laid flat.
*Please note that slight variations in measurements may occur.
*Actual color may differ slightly from the photos due to lighting and screen settings.

Overall Product Character
These men's brown denim jeans are made in Japan by Studio D'Artisan and combine the construction of classic five-pocket jeans with two distinctive Japanese production techniques: low-speed denim weaving on a Toyoda GL-3 power loom and traditional Amami Dorozome mud dyeing.

The jeans are constructed from substantial 15 oz. cotton denim woven from undyed ecru warp and weft yarns. After the denim is cut and sewn into jeans, the completed garment is dyed on Amami Oshima using a repeated botanical-dyeing and mud-treatment process. This creates a deep, earthy brown color with natural variations in tone.

The irregular surface of the GL-3-woven denim contains visible neps, uneven yarn thickness, fine raised cotton fibers that create a subtly fuzzy surface, and irregular variations in texture. These characteristics are combined with the naturally developed brown coloration of Amami Dorozome to create a fabric that differs in both appearance and feel from conventional indigo denim.

The design follows the traditional structure of five-pocket jeans, including a button fly, curved front hand pockets, a coin pocket, rear patch pockets, metal rivets, five belt loops, and a leather brand patch. The result is a practical pair of everyday jeans with a distinctive fabric texture and naturally developed brown color.

Silhouette and Fit
These jeans have a classic regular straight fit with a standard mid rise. The silhouette is neither excessively loose nor closely tapered.

The upper legs provide moderate room through the thighs, allowing comfortable movement without creating an oversized appearance. From the knees to the leg openings, the legs narrow very slightly while maintaining the natural line of traditional straight-leg jeans.

The balanced proportions preserve the substantial appearance associated with classic workwear while remaining easy to coordinate with contemporary casual clothing. The regular straight shape can be worn with boots, sneakers, or other everyday footwear without appearing strongly influenced by short-term fashion trends.

15 oz. GL-3 Loom-Woven Denim
The jeans are made from 15 oz. denim woven from 100% cotton yarn on a Toyoda GL-3 power loom. The GL-3 was manufactured by Toyoda Automatic Loom Works, now known as Toyota Industries Corporation, during the 1950s and is considered one of Japan's early motorized power looms.

Unlike modern high-speed textile machinery, the GL-3 operates at an extremely low production rate. It can weave only approximately five meters of fabric per hour. This slow weaving speed allows the yarns to retain more of their natural irregularity and prevents the fabric from becoming excessively compressed, flat, or mechanically uniform.

The resulting denim has a substantial hand and a visibly irregular surface. Variations in yarn thickness and placement create neps, rough areas, uneven elevations, and fine raised cotton fibers that give the fabric a slightly fuzzy surface appearance.

The combination of surface fuzz, neps, irregular yarn thickness, and rough texture gives the denim a dry, rugged, and three-dimensional character that is different from the smooth and uniform surface of conventionally manufactured denim.

These characteristics are not manufacturing defects. They are inherent features of denim produced from irregular yarns on early low-speed weaving equipment.

Studio D'Artisan Original Denim Specification
The denim was developed according to Studio D'Artisan's original fabric specification. The yarn count, yarn shape, warp and weft density, number of inserted yarns, and weaving conditions were selected to emphasize the distinctive characteristics of the GL-3 loom.

The interaction between the irregular cotton yarns and the low-speed weaving process produces a surface that is not uniformly smooth. Small neps, uneven yarn thickness, fine raised cotton fibers, and irregular variations in texture may be visible throughout the garment.

The fine cotton fibers extending from the surface create a subtle degree of fuzziness. This surface character is a natural result of the yarn and weaving specifications and should not be confused with pilling or fabric damage.

The substantial 15 oz. weight gives the jeans a firm structure, while the irregular texture and fine surface fuzz create a three-dimensional appearance that becomes more noticeable under changing light and through continued wear.

Undyed Ecru Warp and Weft Yarns
Both the warp and weft yarns are initially undyed ecru cotton. This differs from conventional blue denim, which is normally woven with indigo-dyed warp yarns and undyed weft yarns.

These jeans are not made by taking conventional indigo denim and redyeing it brown. Instead, the GL-3 denim is woven entirely from undyed yarns before the completed garment is treated with Amami Dorozome mud dyeing.

Beginning with an undyed denim base allows the natural dye to penetrate both the warp and weft yarns. This produces a brown color throughout the structure of the cloth while preserving the neps, fine surface fuzz, uneven elevations, and rough texture created during weaving.

Amami Dorozome Mud-Dyeing Process
The jeans are dyed using Amami Dorozome, a traditional natural dyeing method practiced on Amami Oshima, an island in southern Japan.

The process uses a botanical dye extracted from the locally grown Techi tree, known in Japanese as Sharinbai. Its botanical classification is Rhaphiolepis indica var. umbellata. The wood and bark of the tree contain natural tannins that can penetrate cotton fibers and react with iron.

The garment is repeatedly immersed in the plant-based dye solution so that the tannins can gradually enter the cotton fibers. It is then immersed in iron-rich mud from Amami Oshima.

The iron contained in the mud reacts with the tannins absorbed into the fabric. This natural chemical reaction darkens the material and helps fix the color within the cotton fibers. Repeated botanical-dyeing and mud-treatment cycles gradually build the deep, earthy brown tone.

The process requires considerable time and repeated manual work. Because the final color is created through the interaction of plant-derived tannins, iron-rich mud, water, cotton yarn, and individual processing conditions, the resulting shade is not mechanically uniform.

Minor differences in color depth, surface tone, and dye concentration may occur between individual pairs and between different areas of the same garment. These variations are inherent characteristics of traditional natural dyeing and should not be regarded as defects.

Garment-Dyed Construction
The jeans are dyed after the denim has been cut and sewn into a completed garment. This garment-dyeing method allows the Amami Dorozome color to develop across the main fabric, seams, pocket edges, belt loops, reinforced areas, and other structural details.

Because areas containing multiple layers of denim may absorb and retain the dye differently from single-layer areas, subtle tonal differences may appear around the seams, pockets, waistband, fly, and hems.

The neps, raised cotton fibers, rough areas, and uneven elevations of the GL-3 denim may also absorb and reflect the color differently. This interaction between the irregular fabric surface and the natural dye contributes to the depth and variation of the finished brown color.

These small differences contribute to the natural appearance of the finished jeans and reflect the interaction between the garment's construction, the GL-3-woven denim, and the traditional dyeing process.

One-Wash Finish
The finished jeans have been washed once before sale. This one-wash treatment removes a portion of the initial shrinkage and softens the rigid feel of newly woven 15 oz. denim, allowing the jeans to feel more comfortable and easier to wear from the beginning.

Although the one-wash process reduces initial shrinkage, minor additional shrinkage or dimensional change may still occur depending on water temperature, washing method, drying conditions, and frequency of laundering.

The fabric may also stretch slightly in areas exposed to repeated movement and pressure, particularly around the waist, seat, knees, and thighs. This combination of minor shrinkage and wear-related stretching is a normal characteristic of cotton denim.

Wear and Color Development
The mud-dyed brown surface will gradually change through repeated wear, friction, movement, and washing. Areas exposed to frequent abrasion, including the pocket openings, fly edges, knees, thighs, seams, hems, and rear pocket edges, may gradually develop lighter tones and more visible surface contrast.

The fine raised fibers on the surface may gradually settle, flatten, or wear away in areas exposed to repeated friction. At the same time, recessed sections may retain more of their original fuzziness and darker color. This difference can make the irregular elevations, neps, and three-dimensional texture of the GL-3 denim increasingly visible.

The resulting color and texture development will vary according to the wearer's body shape, movement, frequency of wear, washing method, drying conditions, and daily use. No two pairs will develop exactly the same appearance.

Because natural dyeing does not produce the same perfectly uniform and highly colorfast surface associated with some modern synthetic dye systems, gradual fading, tonal variation, and occasional color transfer should be regarded as inherent characteristics of the jeans.

Five-Button Button Fly
The front opening uses a traditional button-fly construction. It consists of one top button at the waistband and four buttons along the fly, for a total of five buttons.

The buttons are made from metal and finished with a black coating that coordinates with the earthy brown denim. Each button is stamped with the Studio D'Artisan brand logo.

The button fly reinforces the classic five-pocket construction and provides a more traditional appearance than a zipper fly. With extended use, friction may gradually alter the black coating on the raised edges of the buttons. This surface change is a natural result of wear.

Curved Front Hand Pockets
Curved hand pockets are positioned on the left and right sides of the front body. The openings are shaped to provide practical access while maintaining the familiar appearance of classic five-pocket jeans.

Metal rivets reinforce the ends of the pocket openings. These areas receive concentrated stress when the wearer inserts a hand or carries an object inside the pocket. The rivets help distribute this stress and reduce the possibility of the pocket corners separating from the surrounding denim.

The pocket openings and riveted corners may gradually develop lighter color and more pronounced surface contrast through repeated use.

Coin Pocket
A coin pocket is incorporated into the right front pocket area. It follows the compact construction traditionally used on classic five-pocket jeans.

The coin pocket is also reinforced with metal rivets at stress points. Although originally intended for carrying small items, it also serves as a recognizable structural and visual detail associated with traditional jeans.

Rear Patch Pockets and Hidden Rivets
Two patch pockets are positioned on the back, one on each side. They are constructed from the same 15 oz. Amami Dorozome mud-dyed denim as the main body.

The upper corners of the rear pockets are reinforced with hidden rivets installed inside the pocket construction. These rivets strengthen the high-stress attachment points while remaining concealed from the exterior.

This construction preserves a clean outer appearance while providing reinforcement similar to the exposed rivets used on the front pockets.

Signature Back-Pocket Stitching
Both rear pockets feature Studio D'Artisan's original decorative stitching pattern. The stitching is applied in a brown-toned thread selected to coordinate with the mud-dyed fabric.

The restrained color reduces strong contrast and allows the stitching to remain integrated with the overall earthy appearance of the jeans.

As the surrounding denim changes through wear and washing, the relationship between the pocket stitching and the fabric color may gradually become more visible.

Five Belt Loops
The waistband is equipped with five belt loops positioned around the waist. This traditional arrangement provides practical support for a belt while maintaining the balanced construction of classic five-pocket jeans.

The belt loops are made from the same mud-dyed denim. Their raised edges and areas of contact with a belt may develop lighter color and surface wear over time.

Leather Brand Patch
A Studio D'Artisan leather brand patch is sewn onto the right rear section of the waistband. The patch identifies the brand while adding a natural material that will change through continued wear.

The leather may gradually soften and develop changes in color and surface texture through exposure to friction, moisture, body heat, and daily use.

Natural differences in grain, tone, and texture may be visible in the leather. These variations are inherent characteristics of the material rather than defects.

Classic Five-Pocket Construction
The jeans follow the basic structure of traditional five-pocket workwear, including two curved front hand pockets, one coin pocket, two rear patch pockets, riveted stress points, a button fly, five belt loops, and a rear leather patch.

Rather than serving as a reproduction of one specific historical model, the design combines these established jeans details with Studio D'Artisan's original 15 oz. GL-3 denim and the natural coloration of Amami Dorozome mud dyeing.

The result is a regular straight pair of jeans that retains the practical structure of traditional workwear while presenting a naturally developed brown color, fine surface fuzz, and irregular texture created through specialized Japanese weaving and dyeing processes.

Natural-Dye Color Transfer
These jeans are colored with natural dye. Excess dye remaining on or near the fabric surface may transfer to other materials through friction.

Particular care should be taken during the initial period of wear. Avoid combining the jeans with white or light-colored clothing, bags, shoes, belts, furniture, automobile seats, upholstery, or other items that may easily absorb pigment.

Color transfer may occur while the jeans are dry, but the risk increases when the fabric is damp from perspiration, rain, washing, or high humidity. Areas exposed to repeated friction may also release color more readily.

Do not place the wet or damp jeans directly against other clothing or household surfaces. Do not leave the garment folded, compressed, or in contact with another item while wet, as dissolved dye may migrate and create staining.

Washing and Care Precautions
Wash these jeans separately from other garments because released dye may transfer during washing.

Turn the jeans inside out before washing to reduce direct abrasion against the dyed outer surface. Use cold or lukewarm water, a mild detergent, and a gentle washing cycle. Avoid excessive agitation, scrubbing, brushing, or concentrated rubbing.

Do not use chlorine bleach or oxygen bleach. Avoid hot water and tumble drying. Do not leave the jeans soaking for an extended period, as prolonged immersion may cause excessive dye loss or uneven color migration.

After washing, remove the jeans promptly, reshape them carefully, and allow them to air-dry naturally in the shade. Do not leave the garment wet or folded for an extended period.

Because of the natural dyeing process, some color loss is expected during washing. Variations in fading and surface tone are part of the intended character of the garment.

Always follow the specific care instructions attached to the product.

Made in Japan
These jeans are made in Japan from Studio D'Artisan's original 15 oz. cotton denim woven on a Toyoda GL-3 power loom and colored using traditional Amami Dorozome mud dyeing.

The irregular fabric surface, fine cotton fuzz, natural coloration, hardware, five-pocket construction, and regular straight silhouette combine specialized Japanese textile production with the practical design principles of classic jeans.

Toyoda GL-3 Power Loom

An Early Japanese Power Loom
The GL-3 is an early Japanese shuttle-type power loom manufactured by Toyoda Automatic Loom Works, now known as Toyota Industries Corporation. It was produced during the 1950s and represents an early stage in the development of motorized weaving technology in Japan.

Only a limited number of GL-3 looms were manufactured, and very few remain operational today. Their rarity, low production capacity, and distinctive weaving characteristics have made them highly valued for producing specialized fabrics with pronounced surface variation.

Difficult to Maintain
Replacement parts for the GL-3 are no longer commercially manufactured. When a component becomes worn or damaged, usable parts may need to be recovered from another retired or non-operational GL-3 loom.

Keeping the machine in working condition requires experienced technicians who understand its mechanical timing, shuttle movement, yarn tension, take-up system, and other operating characteristics.

Small changes in alignment or mechanical adjustment can affect both the stability of the weaving process and the appearance of the finished fabric. Regular inspection, careful adjustment, and continued maintenance are therefore essential.

Extremely Slow Weaving Speed
A GL-3 can weave only approximately five meters of fabric per hour. This is considerably slower than contemporary high-speed looms designed for large-scale industrial production.

From a manufacturing perspective, the GL-3 is highly inefficient. It requires more time, closer supervision, and greater mechanical attention to produce a relatively small quantity of fabric.

However, the slow operating speed allows the yarns to be woven without creating the highly compressed, smooth, and mechanically uniform surface commonly associated with modern mass-produced textiles.

Why the GL-3 Is Called a "Phantom Loom"
The GL-3 is sometimes referred to as a "phantom loom" because very few operational machines remain, replacement parts are difficult to obtain, and the technical knowledge required to maintain them is increasingly specialized.

The term also refers to the distinctive fabric character produced by the machine. Depending on the yarn and weaving specifications, the GL-3 can produce visible neps, slubs, uneven elevations, fine surface fuzz, and subtle variations in surface density that are difficult to reproduce with modern high-speed equipment.

These characteristics are not manufacturing defects. They result from the combination of irregular yarns, low-speed weaving, carefully controlled tension, and the mechanical properties of the older loom.

Fabric Characteristics Produced by the GL-3
Fabric woven on the GL-3 typically has a substantial hand and a visibly irregular surface. Differences in yarn thickness, tension, and placement create raised and recessed areas throughout the cloth.

Small neps, slubs, fine raised cotton fibers, and irregular variations in texture may be visible. Neps are small groups of entangled fibers, while slubs are thicker sections formed within intentionally irregular yarns.

The fine cotton fibers extending from the surface give the fabric a subtly fuzzy appearance and tactile texture. This natural surface fuzz is distinct from pilling and is an intended characteristic of the denim.

Rather than appearing perfectly flat and uniform, the surface contains subtle variations that become more noticeable under changing light and through continued use.

The exact appearance and hand of the fabric depend on the yarn count, yarn irregularity, warp density, weft density, weaving tension, and other production specifications selected for each fabric.

Craftsmanship Rather Than Production Efficiency
Producing fabric on the GL-3 requires substantially more time and manual involvement than weaving on modern industrial machinery.

The loom must be carefully maintained, weaving conditions must be monitored, and mechanical adjustments may be required during production. The objective is not maximum output or complete visual uniformity, but the creation of fabric with controlled irregularity and distinctive surface character.

Each length of fabric reflects the interaction between the loom, the yarn specification, the mechanical settings, and the judgment of the loom operator.

The GL-3 therefore represents a production method that prioritizes fabric character, technical skill, and careful small-scale manufacturing over speed and efficiency.

Handling Amami Dorozome Mud-Dyed Products

Traditional Amami Dorozome Dyeing
Amami Dorozome is a traditional mud-dyeing method practiced on Amami Oshima in southern Japan.

The process uses a botanical dye extracted from the Techi tree, also known in Japanese as Sharinbai. The wood and bark contain natural tannins that can bond with textile fibers and react with iron.

The material is repeatedly immersed in the plant-based dye solution so that the tannins penetrate the fibers. It is then treated with iron-rich mud from Amami Oshima.

The iron in the mud reacts with the tannins and gradually deepens and fixes the color. Multiple dyeing and mud-treatment cycles are required to build the characteristic earthy tone.

Natural Color Variation
Amami Dorozome does not produce the mechanically uniform appearance associated with conventional synthetic dyeing.

Minor differences in color depth, concentration, and surface tone may occur between individual products. Subtle variations may also be visible within different areas of the same product.

Seams, folds, reinforced areas, and sections containing multiple layers of fabric may absorb or retain the dye differently from single-layer areas.

These variations are inherent characteristics of the traditional dyeing process and should not be regarded as defects.

Color Transfer Through Friction
Natural dye remaining on or near the surface may transfer to other materials through friction.

Particular care should be taken when a mud-dyed product comes into contact with white or light-colored clothing, bags, shoes, furniture, automobile seats, upholstery, or other finished surfaces.

Areas exposed to repeated rubbing may release color more readily. Color transfer is often more noticeable during the early period of use, although it may continue depending on moisture, friction, and washing conditions.

Color Transfer When Wet or Damp
Moisture can increase the possibility of dye transfer. Perspiration, rain, washing water, humidity, or other sources of moisture may cause the surface dye to become more mobile.

When the product is damp, avoid direct contact with light-colored clothing, bags, furniture, automobile seats, and other materials that may absorb the dye.

Do not leave the wet product folded, compressed, or placed against another item for an extended period. Prolonged contact while wet may result in color transfer, uneven staining, or migration of dye between different sections.

Washing Instructions
Wash mud-dyed products separately from other items because released dye may transfer during washing.

When appropriate for the product, turn it inside out before washing. This reduces direct abrasion against the dyed outer surface and may help limit unnecessary surface color loss.

Use cold or lukewarm water, a mild detergent, and a gentle washing method. Avoid excessive mechanical agitation, scrubbing, brushing, or concentrated rubbing.

Do not use chlorine bleach or oxygen bleach. Avoid hot water and tumble drying unless specifically permitted by the care label attached to the product.

After washing, remove the product promptly, reshape it carefully, and allow it to air-dry naturally in the shade. Do not leave it soaking or wet for an extended period.

Always follow the specific care instructions provided on the product label.

Drying and Sunlight Precautions
When appropriate, turn the product inside out before drying and place it in a well-ventilated shaded area.

Avoid prolonged exposure to direct sunlight. Strong ultraviolet light may cause natural dyes to fade, discolor, or change unevenly, particularly when the product remains exposed in the same position for an extended period.

Direct sunlight should not be used intentionally to darken or develop the color, as it may instead cause unwanted or uneven fading.

Natural Aging and Color Development
The color and surface appearance of Amami Dorozome products will gradually change through use, friction, washing, moisture, and exposure to air.

Areas that receive frequent contact may become lighter, while recessed or less exposed areas may retain a darker tone. The resulting appearance will vary according to how the product is used, cleaned, dried, and stored.

No two naturally dyed products will develop in exactly the same manner.

Characteristics of Natural Dye
Color fading, surface variation, and occasional color transfer are inherent characteristics of Amami Dorozome and other natural dyeing methods.

These properties differ from the high degree of color uniformity and colorfastness commonly associated with modern synthetic dyes.

Careful handling can reduce unwanted transfer and uneven fading, but it cannot completely prevent the natural color from changing over time.

Please handle Amami Dorozome products with appropriate care and enjoy the individual color development and surface character created through continued use.

Care Instructions
Machine wash on a gentle cycle at a maximum water temperature of 40°C (104°F).
Do not use chlorine bleach or oxygen bleach.
Iron at a medium temperature with a pressing cloth placed between the iron and the garment.
Do not dry clean.
Due to the nature of the dye, color loss may occur. Wash separately from other garments.
Due to the characteristics of the fabric, slight shrinkage may occur after washing.
Color may transfer to other clothing, accessories, upholstery, or other surfaces through friction or when the garment is damp from perspiration, rain, or other moisture.

Important Notes
*Our online inventory is shared with our physical retail store. As a result, changes in store inventory may not always be reflected immediately on the website.
*Even after an order has been placed, an item may occasionally be sold out due to the timing of simultaneous purchases. We sincerely appreciate your understanding.
*All measurements are taken manually with the garment laid flat and measured using a tape measure.
*Because individual garments may vary slightly and measurement methods can differ, minor measurement discrepancies may occur.
*The actual color of the product may appear slightly different from the photographs depending on the lighting conditions during photography and the settings of your monitor or display.