JV STRATOCASTERS: A brief history
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The first Japanese-made Fender Stratocasters, introduced in April 1982, were modeled after the 1957 and 1962 Stratocasters, just like their US-made counterparts. Their serial numbers began with “JV,” short for Japanese Vintage, and these guitars even reached Fender Headquarters a few months before the production of the American Vintage series. Their exceptional build quality surprised Dan Smith and his team, helping create the legend of the JV Stratocasters:
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“Everybody came up to inspect them, and the guys almost cried, because the Japanese product was so good. It was what we were having a hell of a time trying to do.”
Dan Smith
These guitars impressed collectors and players by accurately reproducing many pre-CBS specifications, such as the shape of the headstock, wide dot spacing at the twelfth fret, and deep body contours. The only departure was the ’57 Stratocaster’s “C”-shaped neck profile.
Early JV Stratocasters for the Japanese market
The earliest JVs were built exclusively for the Japanese market—hence often called “domestic”—and had unique model codes. The ’57 Stratocaster reissues were labeled ST'57-65, ST'57-85 and ST'57-115, while the ’62 versions were labeled ST'62-65, ST'62-85 and ST'62-115. In 1984, Fender also introduced the ST’57-55 and ST’62-55, which initially bore the coveted JV serial prefix before switching to other prefixes.
The body was typically made of alder or sen, a wood with strikingly pronounced grain patterns—often called sen ash or Japanese ash because it resembled traditional ash. In reality, the wood is Acanthopanax ricinifolius (also known as Kalopanax septemlobus) from the Araliaceae family. The ST-55 and ST-70 models, however, featured bodies of either alder or basswood.
Among all JV Stratocasters ever produced, only the ST-115 and ST-85 models were finished in nitrocellulose lacquer; the rest had a thin polyester finish.
The body was typically made of alder or sen, a wood with strikingly pronounced grain patterns—often called sen ash or Japanese ash because it resembled traditional ash. In reality, the wood is Acanthopanax ricinifolius (also known as Kalopanax septemlobus) from the Araliaceae family. The ST-55 and ST-70 models, however, featured bodies of either alder or basswood.
Among all JV Stratocasters ever produced, only the ST-115 and ST-85 models were finished in nitrocellulose lacquer; the rest had a thin polyester finish.
A close-up of the stunning sen body on a JV Stratocaster (photo courtesy of Roll4speed)
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The first JV Stratocasters, produced in 1982, featured a slightly larger Fender Spaghetti logo (reduced in mid-1983). Note the lack of space between the “e” and “r.”
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First-gen export JV Strats
Because of high demand for vintage-style Stratocasters, Fender chose to export these models to Europe under the Squier label, a name derived from Victor Carrol Squier, a violin and string instrument maker Fender had acquired in 1965.
The first Squiers were produced around the end of April 1982 and were marketed as the Squier Series '57 Vintage Stratocaster and the Squier Series '62 Vintage Stratocaster. The United Kingdom was the first country to receive these Japanese-made Stratocasters in May, and distribution quickly spread across Europe.
In the United Kingdom, Fender set the retail price of the ’57 Squier Series Stratocaster at £223, while the ’62 Squier Series Stratocaster at £230, about half the price of a Fender Stratocaster. These prices were almost exactly the same as the cheapest Tokai copies in the UK. Obviously, it was not a coincidence.
The very first export JV Stratocasters still carried the Fender Spaghetti logo, but instead of the “ORIGINAL Contour Body” decal, they sported a “Squier Series” logo on the ball of the headstock, clearly distinguishing them from American-made Stratocasters. Production began in the spring of 1982 and lasted only a few months, with roughly 3,000 guitars made in total.
This first batch of export JV Stratocasters appeared somewhat inconsistent, but these guitars are among the most sought-after by collectors.
The first Squiers were produced around the end of April 1982 and were marketed as the Squier Series '57 Vintage Stratocaster and the Squier Series '62 Vintage Stratocaster. The United Kingdom was the first country to receive these Japanese-made Stratocasters in May, and distribution quickly spread across Europe.
In the United Kingdom, Fender set the retail price of the ’57 Squier Series Stratocaster at £223, while the ’62 Squier Series Stratocaster at £230, about half the price of a Fender Stratocaster. These prices were almost exactly the same as the cheapest Tokai copies in the UK. Obviously, it was not a coincidence.
The very first export JV Stratocasters still carried the Fender Spaghetti logo, but instead of the “ORIGINAL Contour Body” decal, they sported a “Squier Series” logo on the ball of the headstock, clearly distinguishing them from American-made Stratocasters. Production began in the spring of 1982 and lasted only a few months, with roughly 3,000 guitars made in total.
This first batch of export JV Stratocasters appeared somewhat inconsistent, but these guitars are among the most sought-after by collectors.
JV Squier Series Headstock (Photo Courtesy: Roll4Speed)
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The body was usually made of alder or sen, even though a few units were built with a basswood body. They were finished with a thin polyester coat.
Their pickups were made in the USA, typically featuring staggered pole pieces and a grey bottom fiber with a printed date. A few units were equipped with the same red bottom pickups used on U.S. Vintage reissues or the flat-pole pickups found on ’70s Stratocasters. Rarely, an X-1 pickup could be installed at the bridge. Most guitars came with a three-way switch, although a few were fitted with a five-way selector. |
The ’57 models were available in 2-Tone Sunburst, while the ’62 models came in 3-Tone Sunburst. Depending on the model, solid colors like Vintage White, Black, and Fiesta Red were also offered, providing players with a range of classic and striking options.
The first review appeared in the July 10 issue of Melody Maker, where Paul Colbert was impressed.
The first review appeared in the July 10 issue of Melody Maker, where Paul Colbert was impressed.
“Was a time when you could buy a guitar that looked, played, and sounded like a Strat… Or you could buy a Strat. Now even that distinction is waving goodbye.”
Paul Colbert
Graeme Mathieson, District Sales Manager at CBS/Fender Ltd. in England, recalled: “When they came into the stores, it was absolutely unbelievable. Everybody was prepared to slag them to bits because it’s a Japanese Fender—and what’s that all about? But when they played them, everybody just said, ‘These are better than the American guitars.’ It got to the point where we were told as salesmen not to take any more orders because we had so many on back order—and we weren’t selling anything else.”
Second-gen export JV Strats
In the summer of 1982, the headstock of the export JV Stratocasters was completely redesigned.
Fender for a large Squier logo and a smaller Fender logo, likely to lessen any potential impact a Japan-made guitar could have on the prestige of the main brand. “There had to be some differential to make people realize these weren’t the authentic American product,” Martin Fredman, Sales and Marketing Director in the United Kingdom, said, “but that they were getting something made under the auspices of Fender. They just wouldn’t pay so much money for it.”
Hence, the familiar Fender spaghetti logo was replaced with a gold Squier logo in a vintage spaghetti-like font, and “STRATOCASTER” was printed in heavy lettering, reminiscent of the look seen on ’70s large-headstock models. Below it, the phrase “BY Fender” was added, clearly connecting the Squier brand to its Fender heritage.
Fender for a large Squier logo and a smaller Fender logo, likely to lessen any potential impact a Japan-made guitar could have on the prestige of the main brand. “There had to be some differential to make people realize these weren’t the authentic American product,” Martin Fredman, Sales and Marketing Director in the United Kingdom, said, “but that they were getting something made under the auspices of Fender. They just wouldn’t pay so much money for it.”
Hence, the familiar Fender spaghetti logo was replaced with a gold Squier logo in a vintage spaghetti-like font, and “STRATOCASTER” was printed in heavy lettering, reminiscent of the look seen on ’70s large-headstock models. Below it, the phrase “BY Fender” was added, clearly connecting the Squier brand to its Fender heritage.
2nd-Gen JV Squier Stratocaster Headstock
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The Squier ’57 Stratocaster and the Squier ’62 Stratocaster were equipped with U.S.-made black-bottom pickups, which didn’t have printed dates but often featured handwritten yellow or white marks.
By this stage, the use of sen bodies began to fade, with alder and basswood becoming the more common choices for export JV Stratocasters. Around June 1982, the second batch of Japanese Stratocasters rolled out of the Fujigen factory. |
The Squier JV for the Japanese Market
At a Fender Japan dealer conference held at the Hotel New Otani in Tokyo, Roger Balmer announced that Fujigen would begin producing a Squier line to further grow Fender’s presence in the Japanese market.
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Starting in late 1982, Fender Japan’s Vintage lineup was expanded to include more affordable Squier models alongside the existing Fenders.
While domestic Fenders had the ST code, the domestic Squier Stratocasters were marked SST (Squier STratocaster). The new SST-45, SST-50 and SST-55, closely resembled the export models but came with Japanese SQ-5 and SQ-4 Hotrod pickups, which used AlNiCo magnets and springs instead of rubber for pickup height adjustment. The Squier SST-30, introduced in 1983, expanded the range of instruments available to Japanese players. It was equipped with SQ-3 Hotrod ceramic pickups and “hexagonal” low-budget non-slotted tuning machines. All of these domestic Squier Stratocasters initially carried a “JV” serial number. Their production did not end in 1984, but continued in later years with serial numbers other than “JV.” |
Squier SST-30 ceramic pickups, single magnet bar
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ConsiderationS and remarks
It’s worth noting that JV models could carry either the Fender or Squier name. All export guitars were sold under the Squier brand (or Fender “Squier Series”), such as the ’57 Vintage Stratocaster and ’62 Vintage Stratocaster. Domestic JVs, produced exclusively for the Japanese market, were offered under both the Fender and Squier brands.
It’s important to understand that “JV” is not a guitar model, but rather a prefix of a serial number. As a result, many different models are labeled with “JV,” and not all JVs are identical. This means that “JV” does not automatically mean high quality.
The first domestic Stratocasters were excellent instruments, though each model differed significantly. The ST-115, the top-of-the-line model, featured U.S.-made components and nitrocellulose finishes. The ST-85 was very similar, but incorporated many Japanese-made parts, while the ST-65, the economy model with a thin polyester finish, included only American pickups and was nearly identical to the first export Squiers.
Shortly after the introduction of the first export Squiers, Fender Japan launched an entire line of Squier budget guitars for the Japanese market, all featuring “JV” serial numbers.
It’s clear, then, that there is considerable variation in quality among the many JV Stratocasters produced. A “JV” label does not automatically guarantee a top-tier guitar—each model should be evaluated based on its individual features and craftsmanship rather than the serial prefix alone.
It’s important to understand that “JV” is not a guitar model, but rather a prefix of a serial number. As a result, many different models are labeled with “JV,” and not all JVs are identical. This means that “JV” does not automatically mean high quality.
The first domestic Stratocasters were excellent instruments, though each model differed significantly. The ST-115, the top-of-the-line model, featured U.S.-made components and nitrocellulose finishes. The ST-85 was very similar, but incorporated many Japanese-made parts, while the ST-65, the economy model with a thin polyester finish, included only American pickups and was nearly identical to the first export Squiers.
Shortly after the introduction of the first export Squiers, Fender Japan launched an entire line of Squier budget guitars for the Japanese market, all featuring “JV” serial numbers.
It’s clear, then, that there is considerable variation in quality among the many JV Stratocasters produced. A “JV” label does not automatically guarantee a top-tier guitar—each model should be evaluated based on its individual features and craftsmanship rather than the serial prefix alone.
The SQ Stratocaster
By late 1983, Fender was still dealing with many problems and was not generating the profits CBS expected.
The SQ Stratocaster featured in an article by Paul Colbert, published in the March 1984 issue of One Two Testing
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So, Dan Smith decided to bring the Japanese-made Squier guitars to the United States: “We wanted to wait to introduce the Fujigen product to the US market until after we had a solid US-made product line, but we were running out of time.”
To avoid competing directly with American-made models, Fender introduced a new Squier that was clearly distinguishable from its U.S.-made Stratocasters: the Squier Stratocaster, with a large headstock, bullet truss rod, and three-bolt neck plate. |
These guitars became known as Squier SQ Stratocasters, named after their “SQ” serial prefix (“SQ” stood for Squier). Though initially intended for the U.S. market, they were soon exported worldwide. It’s worth noting, however, that the “SQ” prefix was also used on some models made for the Japanese domestic market.
Between late 1983 and early 1984, the SQ models even made their way onto MTV in a memorable television ad. The spot featured a guitarist holding a Squier, while a voiceover declared: “Great musicians have always picked the special sound of Fender. Now it’s your turn with Fender’s new Squier guitars. The look, the sound, and the quality are everything you’d ever expect. Here’s what you’d never expect...”—and at that moment, a bold “from $169” flashed across the screen.
Between late 1983 and early 1984, the SQ models even made their way onto MTV in a memorable television ad. The spot featured a guitarist holding a Squier, while a voiceover declared: “Great musicians have always picked the special sound of Fender. Now it’s your turn with Fender’s new Squier guitars. The look, the sound, and the quality are everything you’d ever expect. Here’s what you’d never expect...”—and at that moment, a bold “from $169” flashed across the screen.
Squier "SQ" Stratocaster TV advert
“The new Squier series sold like hot cakes. That’s what really made Squier its own brand, and that’s what really told us it could be its own brand—when we started to market it in the United States.”
Dan Smith
Current Stratocasters
In 1983 Fender Japan launched also the domestic Current Stratocasters (CST-30s, CST-45, CST-50 and CST-55). These guitars initially carried “JV” serial numbers
but resembled the export SQ models—featuring a large headstock, bullet truss
rod, and three-bolt neck plate—causing confusion among collectors and MIJ
Fender enthusiasts.One
clear distinction between these models and what would later be known as the
Collectables (see next chapter) was their flat-pole pickups.
The production CST Stratocasters didn’t stop in 1984 but continued in later years, this time with serial numbers other than “JV.”
The production CST Stratocasters didn’t stop in 1984 but continued in later years, this time with serial numbers other than “JV.”
Squier SST and CST guitars, 1983 Fender Japan catalog. SST314-50 and SST314-55 models were short scale Stratocasters.
The ’90s Japanese Squier Series Stratocasters
Between 1992 and 1995, other Fender-branded Squier Series Stratocasters were produced. However, they should not be confused with the original Squier Series, which had a JV serial number and a larger Squier Series logo on the ball of the headstock.
These were low-budget Stratocasters, priced between the Korean Squier models and the Fender-branded guitars made in Japan.
The first of these models, designed for the export market, featured the Spaghetti logo, a basswood body, a 3-ply pickguard, and the serial number along with the “MADE IN JAPAN” decal at the base of the neck.
The second version had a Black Label logo and the “MADE IN JAPAN” decal on the front of the headstock, with the serial number located on the back of the headstock.
These were low-budget Stratocasters, priced between the Korean Squier models and the Fender-branded guitars made in Japan.
The first of these models, designed for the export market, featured the Spaghetti logo, a basswood body, a 3-ply pickguard, and the serial number along with the “MADE IN JAPAN” decal at the base of the neck.
The second version had a Black Label logo and the “MADE IN JAPAN” decal on the front of the headstock, with the serial number located on the back of the headstock.
Headstock of the first version of the Fender Squier Series Stratocaster, made in Japan in the 1990s, featuring the Spaghetti logo
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Headstock of the second version of the Fender Squier Series Stratocaster, made in Japan in the 1990s, featuring the Black Label logo
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The latter has often sparked much debate because in the 1995 and 1996 Twang catalog, the guitar shown is the Mexican Squier Series, recognizable by its serial number located below the whitish Fender logo and by the narrow spacing between the dots at the 12th fret.
In contrast, the Squier Series Stratocaster sold in Japan (and abroad) during those years had its serial number on the back of the headstock and a wide spacing between the 12th fret markers. The Mexican Squier Series also differed from the Japanese version in its “trapezoid” tuners, while the Japanese model featured “half-trap” tuners.
Aside from that, they were identical: poplar bodies (typical of the Mexican models), budget electronics, ceramic pickups with two magnets (like the Mexican ones), and the same 1-Ply pickguard used on the Mexican Squier Series.
It’s also interesting to note that in the Japanese catalog, alongside the model name ST-35, the export model number was listed—and, coincidentally, it was 013-3602, the same used for the Mexican Squier Series. This led many people to believe that the ST-35 was actually made in Mexico and then sold with a “MADE IN JAPAN” label. However, by simply comparing the headstock of the ST-35 with that of the Mexican Squier Series or other Mexican Stratocasters from the same period, it becomes clear that at least the neck was made in Japan, since the shape of Japanese and Mexican headstocks at that time was different.
In contrast, the Squier Series Stratocaster sold in Japan (and abroad) during those years had its serial number on the back of the headstock and a wide spacing between the 12th fret markers. The Mexican Squier Series also differed from the Japanese version in its “trapezoid” tuners, while the Japanese model featured “half-trap” tuners.
Aside from that, they were identical: poplar bodies (typical of the Mexican models), budget electronics, ceramic pickups with two magnets (like the Mexican ones), and the same 1-Ply pickguard used on the Mexican Squier Series.
It’s also interesting to note that in the Japanese catalog, alongside the model name ST-35, the export model number was listed—and, coincidentally, it was 013-3602, the same used for the Mexican Squier Series. This led many people to believe that the ST-35 was actually made in Mexico and then sold with a “MADE IN JAPAN” label. However, by simply comparing the headstock of the ST-35 with that of the Mexican Squier Series or other Mexican Stratocasters from the same period, it becomes clear that at least the neck was made in Japan, since the shape of Japanese and Mexican headstocks at that time was different.
1996 Twang Catalog. The ST-35 shown is actually a Mexican Squier Series Stratocaster, identifiable by the front serial number and narrow 12th-fret dots
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Japanese ‘Black Label’ Squier Series Stratocaster (ST-35) with no headstock serial number and wide 12th-fret dot spacing
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The JV Modified
In March 2022, Fender introduced the new JV Modified Series, inspired by the highly sought-after ’80s JV guitars. Although these models were once again built at Fujigen, they differed significantly from the originals. All guitars in the series featured basswood bodies and Thick Soft “V”-shaped maple necks with 9.5” fingerboards and medium jumbo frets.
Inside Story: Why “Ex” Does Not Mean Export
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In the world of Fender Japan guitars, one common misconception is that the “Ex” designation on instruments or documentation stands for “export.” While it might seem like a logical assumption—especially since it was stamped on many export guitars—the truth is far more nuanced and rooted in how Fender Japan’s business structure was originally designed.
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When Fender and Fujigen Gakki partnered to create Fender Japan in the early 1980s, they established a particular business model. Fujigen’s role was straightforward: build the guitars. Fender Japan, on the other hand, handled all orders to Fujigen and distribution logistics. Foreign distributors never placed orders directly with Fujigen or Fender Japan. Instead, all international orders flowed through Fender USA. Fender USA would then forward these orders to Fender Japan, and Fender Japan would allocate guitars accordingly.
It’s worth emphasizing that this was a Japanese factory where almost nobody spoke English. If “Ex” had been intended to mark guitars for export, it would have been written in Japanese, most likely using the word 輸出 (yushutsu), which literally means “export.”
The key detail here is that Fujigen had no involvement in determining where a guitar would be sold. Fender Japan would receive shipments from Fujigen, unbox and inspect each instrument, and then send it to Japanese music stores or repackage it for overseas shipping. This meant that for Fujigen, every guitar was just a guitar—they weren’t marking instruments as “domestic” or “export.”
Because of this structure, the idea that “Ex” refers to “export” doesn’t hold up. “Ex” was not a shipping label or a code to indicate a guitar’s destination. It had nothing to do with where the instrument would end up. Instead, it was just part of Fender Japan’s internal systems, which separated manufacturing from distribution decisions.
Over time, the economic landscape and Fender Japan’s internal agreements changed, but this fundamental principle remained the same: Fender Japan controlled allocation, and Fujigen’s job was only to build instruments to order, not to decide their market.
So next time you see an “Ex” marking on a Fender Japan guitar, don’t assume it’s a sign of export status. It’s simply a piece of internal jargon, a reminder of the unique way Fender Japan and Fujigen worked together to bring some of the most beloved guitars of the 1980s and 1990s to players around the world.
It’s worth emphasizing that this was a Japanese factory where almost nobody spoke English. If “Ex” had been intended to mark guitars for export, it would have been written in Japanese, most likely using the word 輸出 (yushutsu), which literally means “export.”
The key detail here is that Fujigen had no involvement in determining where a guitar would be sold. Fender Japan would receive shipments from Fujigen, unbox and inspect each instrument, and then send it to Japanese music stores or repackage it for overseas shipping. This meant that for Fujigen, every guitar was just a guitar—they weren’t marking instruments as “domestic” or “export.”
Because of this structure, the idea that “Ex” refers to “export” doesn’t hold up. “Ex” was not a shipping label or a code to indicate a guitar’s destination. It had nothing to do with where the instrument would end up. Instead, it was just part of Fender Japan’s internal systems, which separated manufacturing from distribution decisions.
Over time, the economic landscape and Fender Japan’s internal agreements changed, but this fundamental principle remained the same: Fender Japan controlled allocation, and Fujigen’s job was only to build instruments to order, not to decide their market.
So next time you see an “Ex” marking on a Fender Japan guitar, don’t assume it’s a sign of export status. It’s simply a piece of internal jargon, a reminder of the unique way Fender Japan and Fujigen worked together to bring some of the most beloved guitars of the 1980s and 1990s to players around the world.
Antonio Calvosa
SADDLES COMPARISON
JV Strat saddles: "FENDER" double stamped in the same orientation. In the very first JV guitars, like this, the Fender logo goes beyond the hole (Alberto Pretto)
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American '62 Vintage Reissue pre 1989 saddles: "FENDER" stamped in the same orientation, as in JV Strats (Nino Fazio)
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'90s American '62 Vintage Reissue, "FENDER" double stamped reverse direction
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Original 1955 Fender Stratocaster saddles (Nino Fazio, realvintage.it)
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2013 '65 American Vintage saddles (Paolo Bassi)
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Narrow Classic Series saddles by Ping
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SQ Die-cast saddles (Paolo Bassi)
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Unstamped cheap MIJ Vintage Style saddles (not JV model)
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Cheap made in Korea Squier saddles
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HEADSTOCKS COMPARISON
Very first domestic Strat headstock. The Spaghetti logo was larger than the original pre-CBS guitars. "Made in Japan" decal was still on the heastock; it was later shifted to the neck in mid 1983 at the same time the logo became smaller
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Original 1959 Stratocaster. The Spaghetti logo was smaller compared to that of the very first JV guitars (Courtesy of Nino Fazio, realvintage.it)
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Classic Series Spaghetti logo: note the "E" letter was in a different font
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CONTOUR
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1983 Export JV Stratocaster contour, courtesy of Paolo Bassi
NECK POCKET
Many Export JV guitars had red "EX" stamp and 2 tooling holes in the neck pocket (Paolo Bassi)
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Many Export JV's had also a circled "C" stamp (photo squier-talk)
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"C" stamp in a ST'57-65 neck pocket
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PICKUPS
ST'57-65 Grey Bottom pickup, stamped date
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'62 JV guitar Black Bobbin pickup and white marks on its surface
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Gray Bottom pickup with white plastic top, sometimes used on the very first export guitars
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ST'62-65 Red bottom pickup
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Square holes in SQ Strat pickup; Squier CST JV models did not have these pickups (Paolo Bassi)
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SST-30 single ceramic magnet bar
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ELECTRONICS
Made in USA pots, switch and capacitor, domestic JV ST'115
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0.1uF green ceramic cap, DM30 3-way switch and red Jumper, export Squier '62 Stratocaster (Courtesy of roff4speed from squier talk)
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Tinned copper ground link wire soldered across the pot bases; this is a feature found on most Squier JV and SQ Strats (Paolo Bassi)
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KNOBS COMPARISON
JV
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1958 Stratocaster (Nino Fazio)
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1986 Vintage Reissue
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2013 American Vintage Reissue (Paolo Bassi)
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Classic Series
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NECK HEEL
Note how truss rod adjuster nut doesn't enter the rosewood cap in some very early JV guitars (Courtesy of 62roll4speed from squier talk)
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Most Squier JV rosewood necks feature the truss rod hole drilled in such a way that it cuts into the rosewood slab, as in this export '62 JV strat (Courtesy of Paolo Bassi)
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PICKGUARD
Pickguard of a ST-115 Stratocaster. Many first domestic JV guitars featured "PICK UP MADE U.S.A." sticker
