By the early 1980s, Fender Musical Instruments found itself in an unusual predicament. The CBS-owned American operation was struggling with declining quality control, rising production costs, and a fiercely competitive Japanese guitar market. Japanese brands like Tokai, Greco, Fernandes, and Ibanez were producing instruments that rivaled — and in some cases surpassed — Fender’s own output, often at a fraction of the cost. Many of these “lawsuit-era” guitars were direct copies of classic Fenders, making it hard for the company to compete on price or quality in Japan.
To regain market share and counter the threat of high-quality copies, Fender did something unprecedented: they licensed the Fender name to a Japanese partner. In 1982, Fender Japan was born, a joint venture between Fender USA, Yamano Music (a major Japanese distributor), and the Fujigen Gakki manufacturing plant in Matsumoto.
The Fujigen Years (1982–1996)
Fujigen Gakki was already an industry heavyweight, producing guitars for Ibanez and Greco, and was renowned for its craftsmanship. Under the leadership of Fender Japan’s first catalog designer, Dan Smith, the new lineup included faithful reissues of 1950s and 1960s classics, sold domestically and exported under the Made in Japan (MIJ) label.
Fender Japan introduced the “JV” (Japanese Vintage) series in mid-1982, which quickly earned legendary status among players. These guitars, such as the JV Stratocaster ’57 and ’62 reissues, offered vintage-accurate specs, quality woods, and impeccable fit and finish. They were so good, in fact, that early models are now highly collectible — some even rivaling U.S. Custom Shop builds of the time.
Through the late ’80s and early ’90s, Fender Japan expanded beyond reissues, offering unique models not available from the U.S. lineup. Examples include:
- The Boxer Series – aggressive Superstrat designs aimed at the rock and metal market.
- Contemporary Strats – modern features like locking tremolos, humbuckers, and sculpted neck joints.
- Aerodyne Series – sleek, bound bodies with matching headstocks.
For many players outside Japan, Fender Japan also filled a gap during a difficult period in Fender’s U.S. production. While Fender USA transitioned to its new Corona factory in 1985, many American dealers imported Japanese-made Fenders because their quality often outshone the U.S. equivalents.
The CIJ Era and Changing Factories (1996–2015)
In 1996, the Fujigen contract ended, and production moved to other facilities such as Dyna Gakki and Tokai Gakki. Instruments from this period were labeled Crafted in Japan (CIJ) rather than MIJ. While the CIJ guitars maintained strong build quality, Fender Japan also experimented further with model variations — including ornate special editions, domestic-market exclusives, and wild finishes rarely seen on Western Fenders.
Notable CIJ creations included paisley and floral Telecasters, the Jag-Stang (a collaboration with Kurt Cobain), and hybrid mash-ups like the Jazzmaster Special with humbuckers and tune-o-matic bridges.
The End of Fender Japan and Its Legacy
By 2015, Fender decided to take direct control of its Japanese operations, ending the original Fender Japan joint venture. The “Made in Japan” branding was revived under Fender’s own management, with production continuing at Japanese factories but now fully integrated into Fender’s global strategy.
Today, Japanese Fenders remain beloved for their precision craftsmanship, quirky model offerings, and often exceptional value. Early JV and E-series guitars are particularly sought after by collectors, while modern MIJ lines still serve players who appreciate Japanese build consistency and unique design twists.
In a twist of history, the very factories that once built “lawsuit” copies went on to produce some of the most respected Fenders in the brand’s history. From the vintage-accurate JV reissues to the daring CIJ experiments, Fender Japan’s legacy is one of reinvention, adaptability, and world-class craftsmanship — proving that sometimes, the best way to save your brand is to look halfway across the world.
