Between 1999 and 2001, Juergen Teller was Stüssy‘s go-to photographer for ad campaigns. Picked by Paul Mittleman, his images covered the brand in a variety of global territories. Having shot Kate Moss for a Vogue cover in April 1994 and on the back of his seminal 1999 book Go-Sees, Teller certainly wasn’t a rookie, but the decision to use him led to some arresting images that helped unify that new brand direction’s high and low-end positioning. Influenced by Comme since the very beginning and the daddy of the streetwear designer homage, this appointment seemed like a logical one (and Terry Richardson would shoot some subsequent ads). In 2017, the sullen kid with cheekbones in a hoody is pretty much a go-to for brand lookbooks and blog fodder, and for those with a budget, calling in Juergen is no surprise any more — failing that, a glut of tinpot Tillmans wannabes with a Yashica are ready to shoot their friends in a crap flat for free clothes. There were at least 25 images used in the Teller Stüssy rollout (The Face and Dazed ran a fair amount of them over here) and with some great Tyrone Lebon world tour work of late, it’s great to see that the quality control has been sustained all the way up to present day.
PNB Nation has been discussed here a lot, from its pioneering inception and early days to that weird buyout. It looks like it might be in safer hands right now and those rebel sentiments that set it off are as relevant in 2017 as they were in 1992. Earlier this month, Bounce Media and PNB held a round table to discuss the brand and streetwear in general, erasing the industry whitewash of recent years and acknowledging how slippery streetwear is when it comes to definition. I know that for you podcast fiends, 90-minutes is the new 15-minutes and Alan Ket, Zulu, Pete Rock, Diego Moscoso, Elena Romero, and Kwasi Kessie all offer some interesting contributions. Check it out on the new PNB site right here ‘cos I can’t embed the Soundcloud for some reason.
Have we discussed the Polo-centric American Layers podcast here before? It’s on its 37th episode and the chat with Dallas Penn is perfect for you young and old heads looking to join the dots on the subject of street style and reappropriation. On the topic of education, BEINGHUNTED has spread further offline with the debut of Jörg Haas’ magazine of the same name. If you’ve spent any time here, you know that I was pretty much moved to write on these topics because of BEINGHUNTED 16 years ago. In addition to an essay on Japan’s cultural differences and a piece on emotional data, there’s a trip into Jörg’s expansive archives that includes Supreme jeans with that red tab device homage, a UNION tee, BAPE on a ONEITA blank, a piggy bank themed on Zaius’ boy Galen and a fleece Carhartt zip hoodie from 1994 that I’ve never seen before. According to the editor’s letter at the start, it took a month to put together, as opposed to the day it took to bring the site to life in 1999. Support the originator and don’t sleep on Berlin’s contribution to this thing of ours.
First things first, rest in peace to Tycoon To$h. All us disciples of Tokyo streetwear owe the man and the culture he brought, from new wave to a local interpretation of hip-hop, a fair amount. Major Force inspired Mo’Wax and Mo’Wax inspired…well, you get the general idea. On the topic of early 1990s gems, the superb Webm8 site keeps bringing the gems, with nuggets like this fit-inducing two-minute retrospective of 1990-era ‘fits that was shown on MTV Europe in association with Swatch back in the day. Lots of crap and a few fakes in the mix, but to be fair, there was a lot of that my wardrobe back then. Shouts to everyone who used to watch this kind of stuff intently to take notes back in the day.
I’ve long assumed that Kurt Cobain would despise everyone that purports to be influenced by him stylistically, or, at the very least, he’d administer some onstage sarcasm their way. I also think he cared about his appearance a great deal more than he let on too, like that indie kid who puts in a lot of work to look like he doesn’t give a shit. As a fan of Nirvana and Goodhood, it was nice to get involved in their Cobain 50th birthday celebrations, because they always do this presentation and content stuff better than the rest. The illustrations are tremendous and I love Gregk Foley’s writing. Check it out right here.
The best thing about this site is the ability to up missing details you forget to mention in features way, way back. In last year’s bid to blow up the adidas Gazelle I omitted to mention the impact of Laura Whitcomb’s work and Madonna’s patronage in 1993. Whitcomb ran the store Label (which used the Repo Man style no-frills, consumerist aesthetic earlier than many) in New York from 1995 to 2010 and continues to run Label in a less prominent form. Whitcomb’s unique evening gown reinterpretation of the adidas tracksuit was initially unofficial but a memorable moment in sportswear and fashion crossover. That dress and the platform Gazelle (which I assumed was a custom, but I’m not 100% certain — there were high-heel edition too) unlocked some potential for where old world athletic performance design could be taken. Eventually, adidas gave permission to manufacture the clothes, while PUMA, Everlast and Champion apparently only agreed to one-offs. Whitcomb — an LA native who worked as a stylist in London before moving back overseas — began the Label project in 1991 with her sports remixes that would include PUMA, Everest and, a while before the flips got a little overwhelming, Champion. Those sporty maxi-dresses were much imitated, but it’s a moment in fashion that defined 1993 and instigated something far bigger. The Label by Laura Whitcomb blog has a lot of excellent press imagery from the time regarding those reappropriated adidas pieces, plus this piece on the Label store and its work with Playboy iconography. A fashion, streetwear and sportswear clash, the collaborations and even the Stash-designed VW-style LW monogram all seem a little bit ahead of their time. Here’s a 15 second video of a ’93-era adidas by Label fashion show from Laura Whitcomb’s Vimeo account…
Images taken from here
After the passing of INVENTORY a short while back, I was waiting for another publication to offer something a little deeper on specific brands that language barriers and laziness have prevented me from fully investigating. In 2015 I picked up issue #1 of intelligence and wasn’t bowled over by the content enough to get the next issue, but issue #3 is very good. Created as a division of the excellent HAVEN store and, like INVENTORY, Vancouver-based (most good things seem to come from Canada right now), the magazine avoids the heritage stuff and focuses on some brands that are, for the most part, pretty progressive (INVENTORY seemed to be following a similar path in the last couple of issues before its close because it had pretty much profiled every key brand that operated in the vintage and Americana-themed arena). With pieces on Christopher Nemeth’s daughters, Brain Dead, Greg Lauren (whose comic book cover artist stint, role in the Boogie Nights overdose scene and avant fashion career is a CV that fascinates me far beyond the obvious provenance of that surname) and Sasquatchfabrix’ Daisuke Yokohama, there’s some gold in those interview answers. Kiko Kostadinov’s thoughts on functionality and becoming hyper aware of design from his studies and work life thus far were an indicator that the future is in safe hands, while a KAPITAL article, scuppered by a repetitive print problem has been fixed and upped on the intelligence website. At sixteen quid, it isn’t cheap, but those hours of dialogue transcription probably didn’t come easy either.