Stratocasters made in Japan

Fender Japan

In the early '80s a new problem that Fender had to deal with emerged: the rise of the made in Japan guitars, caused by dollar increase against yen and by the quality of the instruments realized in Japan, which made those Americans uncompetitive. These guitars very often literally copied Stratocasters and at the same time they cost less. Since it was difficult to protect Fender design from foreign competition, in 1982 Schultz decided to produce authentic Fender Stratocasters in Japan, in order to compete with the non-original copies.
After a meeting with the distributors Kanda Shokai e Yamano Music, the Fender Japan co. Ltd. was officially presented at the Grand Palace Hotel, Kudanshita, Tokyo, on 11 March 1982. The design and components of the Stratocasters would have been pertinent to Fender/CBS, the distribution on the Japanese market would have been managed by Kanda Shokai only, while Yamano Music, that invested money in Fender Japan, would have dealt with the importation into Japan of the instruments made in U.S.A.. Kanda Shokai suggested Tokai as one possible factory, but the leaders of Fender USA hated Tokai, they did not trust them at all. So the guitars would have been realized by FujiGen Gakki, in Matsumoto, about 200 km north of Tokyo, also known due to the production of the Ibanez and Antoria, and because it manufactured the Greco for Kanda.
The birth of Fender Japan was a huge success for the Corona company. It was a blow to all copies made in Japan. Also Tokai, which produced excellent replicas of the Fenders, suffered from the new MIJ guitars, as Paul Colbert, the first journalist to review the new instruments, reported: «Tokai are as detailed in their replicas but, psychological or not, having that Fender logo at the top of the headstock puts heritage in your hands, even if given an Eastern interpretation».
The first advertisement of the guitars made in Japan recited: «An international team of guitar designers and craftsman gave these new Squier guitars the same light touch and brilliant tone that made the originals the world's most sought-after electric guitars»; no instruction about the place in which the guitars were built was given. This led many people to think that American workers didn’t take the news well due to old dislikes that went back to the Second World War. But at the Fullerton factory there was no racial hate towards Japanese: almost 80 percent of the 1000 workers were Latino, not white, and they had absolutely no racial problems with Japanese. there were, of course, some people who thought the Japanese project would make them loose their job, but it wasn’t racial hatred.

The principals present at the the press conference at the Grand Palace Hotel were Schultz, Smith and Balmer from Fender; Chiroshi Kojima, president of Kanda; and Masamitsu Yamano, president of Yamano Music (courtesy of 21.frets.com)

La Dyna Gakki (Courtesy of Ikebe)

From the second half of the 1990s Fender began gradually shifting Japanese production from Fujigen, which produced Fender until 1997, to Dyna Gakki, former Greco’s manufacturer, and this would explain the modification of the “Made in Japan” decal to "Crafted in Japan", typical of the new factories and which remained on Japanese guitars for a few years. At first Dyna couldn’t immediately make 5000 instruments a month like Fujigen, so Fender USA agreed to let Tokai make a very limited number of instruments, only for sale in Japan. As soon as Dyna could match Fujigen monthly quantity, Tokai stopped all work with Fender Japan. So Tokai was only involved for a few months.
In 2005, the Fender-Japan joint venture was dissolved and the new Dyna Boeky took its place, while the Japanese distributors remained the same: Kanda Shokai and Yamano. In 2015 Fender took direct control of the distribution of the instruments manufactured in Japan and, at the same time, the Japan Exclusive Series was presented.
In 2017 the master builder Chris Fleming was invited in Japan to monitor the production of the new Made in Japan Traditional Series born on September 13, 2017 to commemorate the thirty-five years of Fender Japan.
If we review the whole made in Japan, we can note a highs and lows production: guitars known for the quality of the woods used and so well built to become myth and legend for some (but too overvalued for others) were joined by others whose components were low-budget. Certainly the guitars made in Japan have supported Fender in the first difficult years of post CBS, when the American factory wasn’t still able to meet the needs of the world market. But what has happened next? Is it possible that the opening of the Ensenada factory, so close to Corona, has led Fender to believe less in the MIJ, since they were on the same price range as the Mexican guitars?

Antonio Calvosa
Very special thanks to Scott Zimmerman

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