My friend Nick Santora has far greater fixation with sports footwear related imagery and ephemera than me. He runs the Classic Kicks site, social accounts and podcast and used to run the fine NYC store of the same name. He just made the plunge into publishing, but is keeping it as pixels for the time being. That doesn’t stop the visually inclined, 124 page Classic Kicks #1 from being designed as if it was on paper, down to the quality of design and page size. The inaugural issue has a ton of content (that’s content in the good sense as opposed to the gushing stream of content for content’s sake that is making anything useful harder to find using Google). If you’re a nerd, you’ll mess with this project — the old adidas and Fila ads are worth the price of admission, but the chats with Nike ad gods Chuck Kuhn, Bob Peterson and Bill Sumner with accompanying reproductions of some of their work, while — most importantly if you’ve followed this blog for any length of time — renaissance man and reggae archivist Roger Steffens shuts down that rumour that Nike’s mysterious Rasta Man samples were made for Bob Marley. Deeper than the usual shoe coverage and it’s best viewed on a tablet, though I would spend big on a physical copy. Well worth your £2.99 or digital subscription fee.
There are a lot of Larry Clark interviews out there and Marc Maron’s WTF podcast is hardly obscure, but it’s always incredible and his chat with Clark last month is a valuable listen if you’re interested in the life events that informed his early work and career to date. That preoccupation with youth makes a sad kind of sense when he discusses his childhood, but for the most part it’s a spirited near 90 minute conversation that includes anecdote after anecdote and, quite rightly, talks about the superb Bully and high-intensity Another Day in Paradise with the reverence that those films deserve. To rise from that background and multiple relapses to helm the Dior Homme video that launched a week or so ago is a significant trajectory.
I see a lot of photo shoots that feature scowling people in sportswear standing near housing estates. It’s the formula that superseded men dressed like 1940s train drivers in parks for look books, but I’ve never seen it done better post-millennium than with french photographer Patrick Cariou’s Marseillais Du Nord shoot for the winter 2002 issue of THE FADER. Continue reading MARSEILLE 2002
If you’re here, I’ll be presumptuous — and not in that irksome clickbait “You won’t believe what…” way —and assume that you own something by Ari Marcopoulos. Ari is one of the greats, working with the Gucci’s new order as well as Supreme, and his documents of NYC skate culture are immortal. Continue reading ARI UP
The current fetishisation of “roadman” aesthetics frequently seems to miss the strange nuances in functional bits like side bags and double tracksuit bottoms and the solemn-faced eccentricity in a UK goon dress code. Broad strokes end up labelling every part of a working class youth’s wardrobe or modern black British style with a roadman tag, and it’s wide off the mark. It’s about far more than kids with posh names banging on about bunnin.’ Continue reading REEBOKS & HAIR GEL
I miss the Heavy Mental site from a few years back, but its legacy has transcended the digital stuff to become a real-world proposition. Heavy Time was founded four years ago to publish some solid self-published material — Cheryl Dunn, Cali Thornhill Dewitt, Weirdo Dave and Erik Brunetti’s work has been released under this imprint, with Jeff Potocar’s Make a Jailhouse Tattoo Machine ‘zine (complete with a contribution from the legendary Fabian Alomar) being an opening salvo. Continue reading HEAVY
Gimme Five is one of the most important UK streetwear lines in history, but I suspect that it was overlooked for a few reasons. Firstly, it was on sale in accounts that held hype product like visvim and Supreme, thus Michael Kopelman’s brand sit in the shadows. Secondly, its distribution was scarce, the line was barely marketed and releases were sporadic. Continue reading GIMME PiL