#barnzley

[warhead]

[token-token-token]

token for New Order Magazine

shot by Glenn Kitson

styled by Barnzley

in London, UK

[dippedanddripped]

In the brief history of street culture, Hitomi Yokoyama is one of its most prominent hidden figures. If Hiroshi Fujiwara is considered the de facto “godfather of Japanese streetwear,” Yokoyama is most definitely its godmother. A contemporary of UNDERCOVER founder Jun Takahashi and Tomoaki “NIGO” Nagao — who would go on to establish A Bathing Ape and Human Made — Yokoyama was at the forefront of Tokyo’s Ura-Harajuku movement that gave rise to Japan’s cadre of covetable brands like WTAPS, Neighborhood, Bounty Hunter, and countless others.

As a teenager growing up in Tokyo’s Yotsuya neighborhood, Yokoyama became fixated with the British punk bands she saw on TV and heard on the radio. “I was listening to The Clash, Adam & The Ants, and The Sex Pistols,” she says. “The first thing in fashion I got really excited about was Malcolm McLaren and Vivienne Westwood’s clothing I saw Johnny Rotten wearing.”

It was through seminal Japanese magazines like Takarajima that she got put onto McLaren and Westwood’s Seditionaries clothing line and SEX shop in World’s End. She also discovered “Last Orgy,” an influential Takarajima column started by Hiroshi Fujiwara. It was basically a cheat sheet of what brands, bands, and trends were about to blow up.

But Yokoyama didn’t just read about what was cool — she lived it, too, exploring Tokyo’s underground nightlife at clubs like Picasso and Nabaron, which played everything from ska, rockabilly, and reggae to the hottest bands in London at the time. The scene got her close to Jun Takahashi and future Bounty Hunter founder Hikaru Iwanaga, who played in a tribute band called the Tokyo Sex Pistols, and NIGO, who sometimes stepped in as their drummer. Yokoyama remembers how the now-icons dressed at the time, recalling Takahashi as a would-be Johnny Rotten and Iwanaga as a stand-in for Sid Vicious.

“This kind of place was more like a culture school than just a club,” she says. It’s where she learned how to dress and met like-minded people who shared the same passions, like Vivienne Westwood and punk. “It was a real life social network in the days before the internet.”

NIGO and Takahashi had met at Tokyo’s prestigious Bunka Fashion College, the same institution that produced Yohji Yamamoto and Junya Watanabe. Yokoyama worked at a hair school in the neighborhood called Ciao Bambina, which doubled as a community hub for area youth, since their parents weren’t allowed in. NIGO got his hair cut there, and Yokoyama admits she used to steal a product called Rock Gel, a hard hair gel ideal for Takahashi’s avant-garde punk hairstyles.

At the same time, Takahashi and NIGO were becoming a dynamic duo in their own right. They had taken the reins of Fujiwara’s “Last Orgy” column and brought it to Popeye magazine (the newer, younger answer to Takarajima) under the moniker “Last Orgy 2.” It was clear they had the juice now, so under Fujiwara’s mentorship they turned their platform into a first-of-its-kind retail concept: NOWHERE.

Before that store opened, Yokoyama remembers the small network of streets as a neighborhood with hidden gems interspersed throughout. There was Hitomi Okawa’s MILK, Nobuhiko Kitamura’s Hysteric Glamour, and punk boutique A Store Robot, which Yokoyama frequented. But NOWHERE began the evolution of Harajuku’s backstreets into an in-the-know shopping destination. The shop launched both Takahashi’s UNDERCOVER and NIGO’s A Bathing Ape.

“Jun started making clothes on a domestic sewing machine, making one-off items. He was a genius at an early age,” remembers Yokoyama. “Then you had NIGO, who was a massive expert on vintage clothing and had great style.”

The Ura-Harajuku scene and the brands to emerge from it would expand from a small underground community to a huge global movement, and Yokoyama would play a crucial part in that transition when she moved to London in 1993.

“My plan was to study English and go to make up school,” she explains. “One day, I was walking down the street and I met a guy called Barnzley. He recognized my Seditionaries clothes and was very curious about my UNDERCOVER clothes.”

Fate made it so that one of the first people Yokoyama met in London was one of its most well-connected people. Simon “Barnzley” Armitage is a fixture of London’s club scene and its underground subculture. As a shop guy for Vivienne Westwood and Malcolm McLaren, he took advantage of the store’s screen printer to make bootleg Chanel T-shirts before getting into deconstructing clothes. He’s donned many hats and worked on numerous projects throughout the years, including co-founding the label A Child of the Jago with Joe Corre — Westwood and McLaren’s punk progeny.

Yokoyama’s Seditionaries fit caught his eye immediately, and they connected over a shared love of clothes, music, and punk culture. Yokoyama was still looking for a room, and Barnzley actually had an opening at his flat, recently vacated by Spanish artist Luciana Martinez de la Rosa.

“I think Hitomi was quite happy to move into a flat full of cool clothes, art, and records,” recalls Barnzley. “Maybe not so happy I kept her up all night with loud music, girls, insane pop stars, and messy graffiti artists.”

Yokoyama admits she didn’t get much sleep thanks to the loud music, but describes the London she found as “like Disneyland.” With Barnzley as her cultural sherpa, she rubbed shoulders with Joe Corre, Nellee Hooper of The Wild Bunch, Paul Cook of The Sex Pistols, Primal Scream’s Bobby Gillespie, and Paul Simonon of The Clash. Many of the figures she previously only read about, that seemed worlds away in the translated pages of Japanese glossies, now became face-to-face acquaintances.

“Everybody seemed to be a pop star, artist or model,” she says. “It was nonstop ’til 4 a.m. most nights.”

In addition to putting Yokoyama on to London’s hippest clubs and clothing stores, Barnzley also introduced her to Cuts, an underground hair salon that was pretty much the city’s answer to Tokyo’s Ciao Bambina. Founded by the late James Lebon, younger brother of fashion photographer Mark Lebon, he created a template for a new breed of alternative hairdressers. Inspired by the DIY ethos of punk, Cuts was the first in a new type of independent hairdressers whose multi-ethnic aesthetic chimed with that of Ray Petri’s wabi-sabi Buffalo style.

“It was a hub for street fashion as there were shoots for i-D and The Face. It was also where you’d find out information on clubs, clothes, and all that culture,” Yokoyama says. “Working there was more like a very fashionable club than a hairdresser. It was my introduction to fashionable London.”

International Stüssy Tribe member Michael Kopelman was also a Cuts regular. In 1989, he founded Gimme 5 as a distribution company, spreading the gospel of Japanese streetwear by introducing brands like Neighborhood, UNDERCOVER, visvim, BAPE, and Hiroshi Fujiwara’s GOODENOUGH into ahead-of-the-game boutiques like Hit and Run (later renamed The Hideout). By 1995, Kopelman and Yokoyama’s mutual appreciation had grown to the point where he felt comfortable enough offering her a job. “We were both into similar things from Japan. Nobody else in London was,” he says succinctly.

With no previous background in art (and never even having worked on a computer before), Yokoyama’s strong sensibilities informed what would become Gimme 5’s aesthetic. Inspired by everything from Eames chairs, old record sleeves, and comic books, she taught herself to use programs like Illustrator, eventually designing a Gimme 5 clothing logo cribbed from Jack Kirby’s Fantastic Four comics. Her work went on to impress her friends back in Japan, leading to graphic work for UNDERCOVER, A Bathing Ape, Real Mad Hectic, and Let It Ride as well as New York brands like aNYthing.

By the mid-2000s, Yokoyama received a major profile boost when she designed a purple and maroon Air Stab for Nike’s sought-after 2006 Air-U-Breathe pack. She was inspired by the lightness of the sneaker, as well as images of rabbits and cats jumping around in her head, leading to the striking graphic on the heel she describes as “paws with eyes.” She followed it up in 2008 with a mostly gray Air Max 90 Current created under Nike’s Co-Lab program for the Beijing Olympics.

Despite her impressive pedigree, Hitomi Yokoyama’s work seems largely swept under the rug in the story of streetwear. Perhaps that’s because she’s always gone under the pseudonym “HIT.” It was a conscious decision on her part, creating an air of mystery around this cryptic, Japanese designer in the vein of a SK8THING or SKOLOCT.

“I started working with all these men’s brands and they wanted to the put the designer’s name on the shirts,” she says. “There weren’t many females around at the time, and I was worried that people from that scene would not take me seriously if they knew I was female. So with the alias HIT, I would not be discriminated against; it’s genderless.”

Yokoyama’s most prolific collabs aren’t just with products, but people. Through her friendships in Tokyo and London, she helped foster long-lasting relationships, like linking Mo Wax impresario James Lavelle and NYC graffiti writer Stash with NIGO. She also became especially close with the late, legendary stylist Judy Blame, who was the inspiration for Dior’s Fall/Winter 2020 men’s collection. Yokoyama is in the final stages of her own Judy Blame tribute, a brand called Available Nowhere that uses Blame’s archive on a series of T-shirts, jackets, shirts, and scarves.

Whatever she’s doing, Hitomi Yokoyama is eternally grateful for the chances London gave her as a wide-eyed young woman from Tokyo. She admits that if things hadn’t worked out abroad, she’d have probably moved back to Tokyo and worked at a Shinjuku sushi restaurant. Now she wants to pay that kindness forward to the next generation.

“I hope to work with artists, designers, and interesting people who might be not well-known,” she says. “I want to help young people with lots of energy learn from old people with experience.”

Words: Andy Thomas

[loosejointsposts]

BARNZLEY 

シャツレーベル”Wemblex”の創業者。 1988年、イギリスのセカンド・サマー・オブ・ラブ・ムーヴメントは、春からブレイクして、夏にはイギリス全土の社会現象となった。実は、その到来を予言していたかのような 一冊の雑誌が存在する。 i-Dマガジン1987年12月1988年1月合併号である。 表紙のスマイリーフェイスのアートワ��クの製作時期は1987年11月。デザインは、当時 i-Dのスタイリストであり、CHANEL No.5(ヴィクトリア・アンド・アルバート博物館に展示)、Hermes、GucciのブートレグTシャツを1987年にイギリスと日本で流行らせたバーンズリーだ。 当時、Hermes、Gucciは全くイケているブランドではなく誤解を恐れずにいえばストリートでは”死んでいた”。これらのNYヒップホップ的カルチャー文脈の視点で作られたブートレグTシャツは、本家によってブートレグされて2018年にリリースされている。マルコム・マクラーレンの文脈を引き継ぐバーンズリーは1993年に Acupuncture、1997年にLowrider London、2002年にZolter the Maginificient、2007年にA Child of Jago、2015年にThunders UK、2018年にWemblex、2019年に .wave Instituteなどに携わった「生きるロンドン・ストリートカルチャー」。日本との交流も深く、数多くのコラボレーションが今もなお続いている。

 Founder of the shirt label [Wemblex] In 1988, the United Kingdom's Second Summer of Love Movement broke out in the spring and by the summer it became a social phenomenon throughout the United Kingdom. In fact, there is a magazine that seems to have predicted its arrival. That magazine is the i-D Magazine combined issue of December 1987 and January 1988. The smiley face artwork on the cover was produced in November 1987. The artwork design was created by Barnzly - who was an i-D stylist at the time and then went on to make the CHANEL No. 5 (exhibited at the Victoria and Albert Museum), Hermes and Gucci bootleg T-shirts which were popular in the UK and Japan in 1987. At the time, now well known brands like Hermes and Gucci were very unpopular and they were ‘’dead’’ on the street. However, thanks to the influence of New York hip-hop culture, bootleg T-shirts were created and then bootlegged and released by Barnzly in 2018. Barnzly, taking over the context of Malcolm McLaren, was engaged in Acupuncture in 1993, Lowrider London in 1997, Zolter the Maginificient in 2002, A Child of Jago in 2007, Thunders UK in 2015, Wemblex in 2018 and Wemblex in 2019 - the “Living London Street Culture" and was involved with .wave Institute and others. The exchange between UK and Japan runs deep and many collaborations are still continuing to this day.

https://www.instagram.com/barnzley https://www.instagram.com/wemblex_

LOOSEJOINTS20FW_BARNZLEY

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A post shared by 丸岡 武史 (@takefumi_maruoka)

バーンズリー兄貴！ 感謝🙏✨ #Repost @enharmonictavern_official ・・・ Cheers🤟 @barnzley & @styleanderror Mr.Barnzley Armitage(legend of London) wearing Enharmonic TAVERN shining cuba shirt✨✨ #Repost @styleanderror ・・・ #videostylestance No.86 Mr.Barnzley Armitage 24.02.18 bagged at Sulivan’s Night @thegrouchoclub which was so beret heavy had to film the highlights. Poor @barnzley had to suffer three takes while I fumbled the first two and is fed up with the stance by 3rd. So, wicked leather appliqué argyle jacket (as worn by #tomverlaine & #malcommaclaren ) will get name right later, also, Fifties style Mexican shirt by @enharmonictavern_official from Japan. Gonna insert rest label notes when worked them out. White one star @converse @ Maroon beret by @boinaselosegui #barnzley #beretsareathing loving your poetic sign off Barnz, thank you 💋🖤👨🏽‍🎨 #tokyo #london #fashion #mensfashion #🇯🇵 #🇬🇧

[storehottrend79-blog]

A girl her dog and her camper its beautiful thing shirt

Based between has A girl her dog and her camper its beautiful thing shirt . It's roots in self-publishing and DIY culture, collaborating with artists and musicians to release zines and cassette tapes after being bored and frustrated with the arts world. They also make really good “referencing existential imagery mixed with counter culture ideals and punk attitude.” What more could you ask for?Another new one for 2018, is the work of , co-founder of London’s braid and blow-dry salon KEASH. Pulling together all kinds of cultural inspirations, Errortique makes clothing for women, designed to empower. Although they’ve only put out one design to date, in various colours, we’ve got a hunch it won’t be their last, and it’s unique enough to get them on this list. Here’s to hoping they continue with the amongst their other clothing in 2019.Part of the new breed of brands coming out of Tokyo, cvc tee created in 2019 by Nobuyuki Murayama and is now making waves on a global level. A girl her dog and her camper its beautiful thing shirt, hoodie, sweater, longsleeve and ladies t-shirt

Classic Ladies

Hoodie

LongSleeve

Sweatshirt

Unisex Drawing inspiration from a very varied list of all the right places, including Sonic Youth, Video Girl, Patagonia, and Hook-Ups, Flagstuff is establishing itself as a cult favourite for graphic tees A girl her dog and her camper its beautiful thing shirt . The sketchy stylings of Holiday feed into their playful take on streetwear, always mixed with an element of seriousness, even if it’s the simple registered trademark symbol at the end of their handwritten logo. Inspirations vary from Americana to modern workwear to internet culture, always with a healthy splash of colour and fun. Founded and designed by Nick Lenzini, former designer of Stay Broke and stylist for Brockhampton, this brand is only going to grow throughout 2019.is the merchandise offspring of renowned hand-type foundry, which itself is the typography offspring of renowned Delaware-based design agency was a collaboration between House Industries and UK streetwear/fashion legend of near-mythical status, Barnzley. It even opened it’s own store in London in 2005. Having disappeared before the ‘00s were over, House33 is now back for 2018 and set to re-establish itself throughout 2019. You Can See More Product: https://storehottrend.com/product-category/trending/ Read the full article

[shirtshoping]

Based between has Im not yelling Im a teacher thats how we talk vintage shirt . It’s roots in self-publishing and DIY culture, collaborating with artists and musicians to release zines and cassette tapes after being bored and frustrated with the arts world. They also make really good “referencing existential imagery mixed with counter culture ideals and punk attitude.” What more could you ask for?Another new one for 2018, is the work of , co-founder of London’s braid and blow-dry salon KEASH. Pulling together all kinds of cultural inspirations, Errortique makes clothing for women, designed to empower. Although they’ve only put out one design to date, in various colours, we’ve got a hunch it won’t be their last, and it’s unique enough to get them on this list. Here’s to hoping they continue with the amongst their other clothing in 2019.Part of the new breed of brands coming out of Tokyo, cvc tee created in 2019 by Nobuyuki Murayama and is now making waves on a global level. Im not yelling Im a teacher thats how we talk vintage shirt, hoodie, sweater, longsleeve and ladies t-shirt Classic Ladies Hoodie Sweatshirt Unisex Drawing inspiration from a very varied list of all the right places, including Sonic Youth, Video Girl, Patagonia, and Hook-Ups, Flagstuff is establishing itself as a cult favourite for graphic tees Im not yelling Im a teacher thats how we talk vintage shirt . The sketchy stylings of Holiday feed into their playful take on streetwear, always mixed with an element of seriousness, even if it’s the simple registered trademark symbol at the end of their handwritten logo. Inspirations vary from Americana to modern workwear to internet culture, always with a healthy splash of colour and fun. Founded and designed by Nick Lenzini, former designer of Stay Broke and stylist for Brockhampton, this brand is only going to grow throughout 2019.is the merchandise offspring of renowned hand-type foundry, which itself is the typography offspring of renowned Delaware-based design agency was a collaboration between House Industries and UK streetwear/fashion legend of near-mythical status, Barnzley. It even opened it’s own store in London in 2005. Having disappeared before the ‘00s were over, House33 is now back for 2018 and set to re-establish itself throughout 2019. You Can See More Product: https://shirtshoping.com/product-category/trending/

[nofomoartworld]

Hyperallergic: A Design Firm That’s Quietly Permeated Pop Culture

House Industries (all photos by the author for Hyperallergic)

DEARBORN, Mich. — To say that graphic designers are obsessed with fonts would be a very true statement, but it would also be a little bit like saying architects are obsessed with walls, windows, and roofs. Fonts are the mechanism that gives form to printed language, and their impact is profound, whether one is aware and obsessed with them, or not.

Andy Cruz is undoubtedly obsessed with fonts, having created them for 20-plus years under the auspices of House Industries, a design firm cofounded with Rich Roat in the early 1990s. House Industries: A Type of Learning at the Henry Ford museum��showcases House’s reach and the extent to which their fonts have thoroughly permeated an entire cross-section of pop culture.

Materials on display in House Industries: A Type of Learning at the Henry Ford Museum

“We’re all ’80s kids,” said David Dodde, co-owner and designer at House Industries. “We’re not inventing anything, we’re just stealing really well. It’s all about the honesty of the theft. In a way, we’re paying homage.”

A Type of Learning is directly informed by House’s longstanding practice of close collaborations with clients across a variety of media. For us Generation Y-ers, precariously balanced between Generation X and millennials, it will leave your synapses blazing in remembrance of iconic pop culture ephemera: Shag stickers; Rat Fink hot rod kits; the HOUSE33 clothing line that directly referenced California skate culture of the early ’90s; the imagery of artist Chris Cooper, whose iconic “smoking devil” design bears more than a passing resemblance to Cruz himself. Other visitors may instead light up with recognition at the “Neutraface” font collection, a minimalist san serif developed to make street-facing address numbers for custom homes by famed midcentury modern architect Richard Neutra. Still other visitors might experience an eye-opening moment of connection in seeing aspects of their daily culture invisibly shaped by House Industries fonts — for example, the font design for the marquee-style logo of Jimmy Kimmel Live!

House Industries sketches for Jimmy Kimmel Live!

The Jimmy Kimmel Live! marquee, with font design by House Industries

This exhibition is expertly crafted and installed with an obsessive eye for detail, but what really makes it a perfect fit is the ways in which it dovetails with the Henry Ford’s overarching collection of cultural artifacts. A trip around the massive museum grounds reveals a seemingly diffuse interest in everything — there are one million objects currently on display, including trains, cars, an example of Buckminster Fuller’s Dymaxion House, the automobile carrying John F. Kennedy when he was assassinated, and many others — to say nothing of the on- and offsite archives that catalogue another 25 million objects. A brief talk with some of the curators — who head departments like Domestic Life (Jeanine Head Miller), Communications & Information Technology (Kristen Gallerneaux), and Transportation (Matt Anderson) — reveals the museum’s interest in the intersection of technology and popular culture, and the development and dissemination of invention. It makes a lot of sense for a collection founded on the wealth of arguably the most impactful invention of the modern era: the automobile.

A mock-studio area presents a highly aestheticized version of the screen-printing process at the root of much of House’s product design.

A Type of Learning was organized by Marc Greuther, a curator of Industry & Design and the senior director of Historical Resources at the Henry Ford. Greuther discovered House Industries upon learning about the font they developed for the Eames Office — a clean and minimal type, as one would expect in the service of those legends of modernism and classic simplicity. From there, he developed a long relationship with Cruz and the rest of House, culminating in the exhibition and the launch of a book that catalogs House’s diffuse reach within the design sphere.

House33 storefront showcases the custom clothing line developed by House in collaboration with London designer and stylist Simon “Barnzley” Armitage in 2005.

Though the show’s punny title, “A Type of Learning,” suggests information design, the exhibition really hinges on drawing some straight-line associations between the House crew’s points of inspiration, demonstrating the “fans first” attitude that has shaped all their aesthetics.

“What I think we’re trying to do … is show the stuff that influenced us, that turned us on to design, form, color — just that aesthetic experience that you just don’t want to lose,” said Cruz. The exhibition begins with the pop culture artifacts of great significance to the House crew, including a Misfits poster, an Evel Kenevil jumpsuit, an old-school LEGO set, and a Tom Servo puppet from Mystery Science Theater 3000. One section chronicles Cruz’s eye for hot rod cars, showing a progression from the classic hot rod that was his father’s passion project and point of inspiration for Cruz as a young man, to Ed “Big Daddy” Roth’s futuristic Mysterion show from the Henry Ford collection; in 1997 Cruz began a collaboration with Roth to develop a specialized font for the Rat Fink brand. One of House’s latest automobile projects is the font and custom paint job on the dash display of a 2017 Ford GT supercar. It’s a literal object lesson in Cruz’s evolution from being a fan of pop culture to being a part of it.

A picture of Ed Roth and Andy Cruz, in the Rat Fink display.

House’s story conveys a sense of the invisible reach of design — not only as a vehicle for information and aesthetics, but as a kind of legacy. Design has the capacity to imprint and inspire designers to carry it forward, maintaining the relevance of fonts and their power to carry messages, just like students of philosophy learn and interpret the ideas of their teachers. House manages to establish aesthetic ownership of a hefty slice of popular culture and a reputation for clearly delineated vision, even when they are completely transparent about their influences — a neat trick in a scene where there is no greater crime than hollow derivation.

“You’re trying to communicate with people,” said Dodde, “and people know when you aren’t communicating with them in an honest way.”

“Learn from what you Like,” the watchword of the House Industries’ approach

House Industries: A Type of Learning continues at the Henry Ford (20900 Oakwood Boulevard, Dearborn, Mich.) through September 4. 

The post A Design Firm That’s Quietly Permeated Pop Culture appeared first on Hyperallergic.

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[enharmonictavernofficial]

Enharmonic TAVERN meets @t_h_u_n_d_e_r_s Coming soon! 今ロンドンで一番熱いshop、THUNDERS で今月よりEnharmonic TAVERNの取り扱いスタートです！ #eastlondon#commercialstreet#e1 @aka.six #fragmentdesign Thanks to @barnzley @thec53

[dippedanddripped]

Stüssy’s official launch date is anything but concrete. Don Letts, the musician, filmmaker and OG-affiliate of the brand says it all started in 1984, but Shawn Stüssy first remembers scratching his infamous punky scrawl in 1979. Without an official logo, per se, Shawn was making surfboards and branding them with a signature scribble -- a practice that, though he was unaware at the time, teemed with potential. He later applied it to T-shirts, earned cult acclaim, and a few years down the line, what is arguably the original streetwear brand was in business.

Underground culture was inherent to Shawn’s work, as was a William Burroughs-esque aptitude for combining scenes, ideas and tastes in simple, effortless clothing. Hip-hop, reggae, graffiti, surfing, skating, punk: a span of influences and urban cultures were brought together to create graphic-heavy garb, at a time when these influences weren’t as widely catered to. Before Stüssy, the youth were reinterpreting, borrowing and cutting garments up -- or, in the case of those seeking out higher-brow attire, stealing Ralph Lauren Polo. Stüssy filled a void; his work reflected what people wanted to buy.

Shawn’s ideas developed organically, spurred on by the ever-expanding network of individuals he came across. “He just kept on meeting like-minded people that were interested in similar things,” Stüssy’s former creative director Paul Mittleman says. “It just kept on going.” The International Stüssy Tribe, a club founded by Shawn, was the beating heart of the brand. One of the original members, Alex Turnbull AKA Alex Baby, remembers the first time he and Shawn met. Originally from London, then a hip-hop DJ in New York, Alex was hanging out with Jules Gayton, a DJ and part-time assistant to Jean-Michel Basquiat. They were routinely flying between London and New York, shuttling rare record collections across the pond. On one visit, Paul invited them over to the Stüssy warehouse. “It was basically a couple of rails of clothes in a space for something else, and Paul was just sitting there,” says Alex. “I remember leaving with a T-shirt and a pair of the beach pants, and they were just mind-blowing.” Never before had he seen such hip-hop amenable clothing. Not long after, Shawn would make a visit to London, attend a nightclub Alex was playing, and initiate six or so members with the now-infamous tribe jackets, complete with logos, names on the front, and ‘Staff’ stitched on them. Not your average hiring process.

With time, the tribe grew. In London, there was hairdresser James Lebon, Gimme 5 founder Michael Kopelman, streetwear scenius Barnzley Armitage, The Clash’s Mick Jones, Big Audio Dynamite’s Don Letts, and jungle pioneer Goldie. In New York, skater Jeremy Henderson, hip-hop A&R rep Dante Ross. In LA, thrasher Tony Converse. Not to forget streetwear kingpin Hiroshi Fujiwara in Tokyo. It was a network of taste-makers, skate rats and musical vanguards, spread across what Alex considers the world’s most culturally adept cities. “With the exception of Kingston, Jamaica, of course,” he’s quick to note. Through his tribe, Shawn had innocently stumbled upon and mastered a communication method that a good proportion of brands are still eager to decode today. “Shawn even pre-empted the whole 'viral’ thing, foregoing big budget advertising and trusting in the organic process of word of mouth,” Don Letts remarks.

Profiling the brand in the 90s, BBC 4’s The Look interviewed Shawn, as well as some of his associates in an effort to unpick the fashion phenomenon. Shawn’s modest attempt to explain his craft was “pants and shirts… and jackets and hats.” But behind the brevity of his response lay a firm confidence; after all, his formula of quality over quantity had garnered enough interest to warrant a BBC feature. “A lot of people collect them -- like these, there’s ten of them, and some people buy every single colour”, explains then-Stüssy’s store manager James Jebbia, pointing out the ‘S’ logo baseball caps. As you’ll likely know, he would later go on to found Supreme, streetwear’s eminent household name. And just as Stüssy had done before, sampling, ripping and re-appropriating became key components of the Supreme creative vocabulary. The former’s infamous interlocking Ss, a humorous ape of Chanel, would foreshadow the latter’s cease-and-desist Louis Vuitton rip skate decks. Looking back, it was oddly prescient, given that both would work with top-tier conglomerate fashion houses years down the line.

Paul draws a parallel between Shawn’s work and 80s postmodern art: just as Jeff Koons placed submerged basketballs in the gallery space, Shawn placed lyrics from American hip-hop duo EPMD on clothing. ‘I get goosebumps when the bass line thumps’, reads a now-coveted T-shirt. In introducing aesthetics and cultures deemed low-brow into public consciousness, Shawn’s graphic style also shared much with graffiti writing, which, as Alex is keen to note, was still considered mere vandalism at the time: “You were still a criminal, it wasn’t accepted as art,” he says. Regardless of public opinion, that confluence of cultures it implied made it widely wearable, as Dante Ross echoes: “We could wear it to a thugged-out party, to a trendy event or to go skate in, all depending on how we wore it.”

At a time when streetwear is unarguably ubiquitous, it’s easy to forget that streetwear was counterculture. “Without Shawn, there would be no streetwear”, says Ross Wilson, an acclaimed streetwear collector who sold a 1,000+ piece Supreme archive in 2018. “Shawn Stüssy is the reason I became immersed in this culture in the first place.” And it doesn’t seem like Stüssy’s contemporary relevance is in decline -- if anything, the opposite is true. ALYX creative director Matthew Williams grew up a Stüssy fan, citing it as “the first fashion brand outside of huge sportswear brands that I became aware of." He now regularly collaborates with Kim Jones at Dior, and his work featured alongside Shawn’s graphics in the house’s Pre-Fall 20 menswear collection. And then there’s Kim himself, who grew up working at Gimme 5, one of Stüssy’s first UK distributors. “He’s part of the community; he’s not just an observer,” Paul says.

While today the internet has allowed everyone, wherever they’re from, the opportunity to engage with street culture, things were trickier in the 80s. But despite the developments since, Stüssy has far from lost its lustre. If anything, the past decade has reiterated Stüssy’s position as a subcultural fixture. Whether throwing parties with Boiler Room or spotlighting Kiko Kostadinov, Stüssy has been – and still is – a driving force in contemporary culture and fashion. Nonetheless, its core values remain: quality clothing, radical graphics, and international community dedicated to representing the brand. As the network has expanded, it’s only grown stronger. The launch of Stüssy’s London Chapter store was a case in point: a BBQ attended by old disciples and a fresh batch of new ones. One of the newcomers to the brand, Jordan Vickors, is grateful for its illustrious history. “It’s been my home since the second I joined; everything Shawn, Alex, Goldie, Paul have built over the years has provided me with a hub of creativity and energy. I can’t thank them enough.” Indeed, as a print on a particularly iconic Stüssy T-shirt, referencing Bob Marley’s “No Woman, No Cry”, reads: ‘In this great future, you can’t forget your past.’

[token-token-token]

token for The New Order Magazine

shot by Glenn Kitson

styled by Barnzley

in London, UK

[token-token-token]

token for The New Order Magazine

shot by Glenn Kitson

styled by Barnzley

[loosejointsposts]

『GUGGENHEIM』Vol.3 LONELY PLANET ISSUE

loosejoints AW20のコレクションに合わせて創刊された、アートとカルチャー、ユーモアに溢れたZINE『GUGGENHEIM』。

展示会や、シーズン立ち上がりの際に世界中でゲリラ的に配布されてきました。vol.1 / 2 / 3とリリースされるたびユニークな記事内容とデザインでカルト的なファンを獲得してきたが、例のごとくAW21コレクション立ち上げで配布されるvol.3で、いったん一休み ( stoned… )すること��なりました。 お取引先様店舗、書店、古本屋、レコード屋、クラブ、レストラン、バー、路上などでゲリラ的に配布いたしますので、ぜひ手にとってご覧いただけましたら幸いです。WEBにてアイテムをご購入してくださった方には同封させていただきます。（無くなり次第終了。） 今後loosejoints 本サイトでも、五木田智央さんやBARNZLYとのトーク、素晴らしい書き手によるコラム、弁護士に訊く著作権などの記事を掲載していきます。願わくば、こんな時代に、みなさまが、少しでも素敵なひとときを過ごすお手伝いができたら幸いです。

--- 『GUGGENHEIM』 Vol.3 LONELY PLANET ISSUE INDEX  AW21 ARTIST - TOMOO GOKITA - DEADKEBAB - DOKKOI ACTIVE - SARASA YANAGI - YUTA UKAI - RUPERT SMYTH - MASATO MAEKAWA - IT - CLAY ARLINGTON ARTIST TALK - TOMOO GOKITA  - BARNZLEY A GRAB FOR PLEASURE - RUPERT SMYTH - DEADKEBAB - JINMATSUYA - SARASA YANAGI - LOOSEJOINTS COLUMN - MIYU OTANI - SOHEI OSHIRO - HIROYUKI ISHII EPILOGUE - TOSHIKO NAKASHIMA STAFF CREATIVE DIRECTOR: SHUN SATO  @loosejoints_journal EDITORS: KEI SATO / SOHEI OSHIRO / MOEKO TAMAKAWA ART DIRECTOR & DESIGNER: YUTA UKAI 

[loosejointsposts]

BARNZLEY

Founder of the shirt label [Wemblex] In 1988, the United Kingdom's Second Summer of Love Movement broke out in the spring and by the summer it became a social phenomenon throughout the United Kingdom. In fact, there is a magazine that seems to have predicted its arrival. That magazine is the i-D Magazine combined issue of December 1987 and January 1988. The smiley face artwork on the cover was produced in November 1987. The artwork design was created by Barnzly - who was an i-D stylist at the time and then went on to make the CHANEL No. 5 (exhibited at the Victoria and Albert Museum), Hermes and Gucci bootleg T-shirts which were popular in the UK and Japan in 1987. At the time, now well known brands like Hermes and Gucci were very unpopular and they were ‘’dead’’ on the street. However, thanks to the influence of New York hip-hop culture, bootleg T-shirts were created and then bootlegged and released by Barnzly in 2018. Barnzly, taking over the context of Malcolm McLaren, was engaged in Acupuncture in 1993, Lowrider London in 1997, Zolter the Maginificient in 2002, A Child of Jago in 2007, Thunders UK in 2015, Wemblex in 2018 and Wemblex in 2019 - the “Living London Street Culture" and was involved with .wave Institute and others. The exchange between UK and Japan runs deep and many collaborations are still continuing to this day.

シャツレーベル”Wemblex”の創業者。1988年、イギリスのセカンド・サマー・オブ・ラブ・ムーヴメントは、春からブレイクして、夏にはイギリス全土の社会現象となった。実は、その到来を予言していたかのような 一冊の雑誌が存在する。i-Dマガジン1987年12月1988年1月合併号である。 表紙のスマイリーフェイスのアートワークの製作時期は1987年11月。デザインは、当時 i-Dのスタイリストであり、CHANEL No.5(ヴィクトリア・アンド・アルバート博物館に 展示)、Hermes、GucciのブートレグTシャツを1987年にイギリスと日本で流行らせたバーンズリーだ。当時、Hermes、Gucciは全くイケているブランドではなく誤解を恐れずにいえばストリートでは”死んでいた”。これらのNYヒップホップ的カルチャー文脈の視点で作られたブートレグTシャツは、本家によってブートレグされて2018年にリリースされている。マルコム・マクラーレンの文脈を引き継ぐバーンズリーは1993年にAcupuncture、1997年にLowrider London、2002年にZolter the Maginificient、2007年にA Child of Jago、2015年にThunders UK、2018年にWemblex、2019年に .wave Instituteなどに携わった「生きるロンドン・ストリートカルチャー」。日本との交流も深く、数多く のコラボレーションが今もなお続いている。

https://www.instagram.com/barnzley https://www.instagram.com/wemblex_

[loosejointsposts]

BARNZLEY

シャツレーベル”Wemblex”の創業者。 1988年、イギリスのセカンド・サマー・オブ・ラブ・ムーヴメントは、春からブレイクして、夏にはイギリス全土の社会現象となった。実は、その到来を予言していたかのような 一冊の雑誌が存在する。 i-Dマガジン1987年12月1988年1月合併号である。 表紙のスマイリーフェイスのアートワークの製作時期は1987年11月。デザインは、当時 i-Dのスタイリストであり、CHANEL No.5(ヴィクトリア・アンド・アルバート博物館に展示)、Hermes、GucciのブートレグTシャツを1987年にイギリスと日本で流行らせたバーンズリーだ。 当時、Hermes、Gucciは全くイケているブランドではなく誤解を恐れずにいえばストリートでは”死んでいた”。これらのNYヒップホップ的カルチャー文脈の視点で作られたブートレグTシャツは、本家によってブートレグされて2018年にリリースされている。マルコム・マクラーレンの文脈を引き継ぐバーンズリーは1993年に Acupuncture、1997年にLowrider London、2002年にZolter the Maginificient、2007年にA Child of Jago、2015年にThunders UK、2018年にWemblex、2019年に .wave Instituteなどに携わった「生きるロンドン・ストリートカルチャー」。日本との交流も深く、数多くのコラボレーションが今もなお続いている。

Founder of the shirt label [Wemblex] In 1988, the United Kingdom's Second Summer of Love Movement broke out in the spring and by the summer it became a social phenomenon throughout the United Kingdom. In fact, there is a magazine that seems to have predicted its arrival. That magazine is the i-D Magazine combined issue of December 1987 and January 1988. The smiley face artwork on the cover was produced in November 1987. The artwork design was created by Barnzly - who was an i-D stylist at the time and then went on to make the CHANEL No. 5 (exhibited at the Victoria and Albert Museum), Hermes and Gucci bootleg T-shirts which were popular in the UK and Japan in 1987. At the time, now well known brands like Hermes and Gucci were very unpopular and they were ‘’dead’’ on the street. However, thanks to the influence of New York hip-hop culture, bootleg T-shirts were created and then bootlegged and released by Barnzly in 2018. Barnzly, taking over the context of Malcolm McLaren, was engaged in Acupuncture in 1993, Lowrider London in 1997, Zolter the Maginificient in 2002, A Child of Jago in 2007, Thunders UK in 2015, Wemblex in 2018 and Wemblex in 2019 - the “Living London Street Culture" and was involved with .wave Institute and others. The exchange between UK and Japan runs deep and many collaborations are still continuing to this day.

https://www.instagram.com/barnzley https://www.instagram.com/wemblex_

LOOSEJOINTS20FW_BARNZLEY

[tmphoneme]

Barnzley,cheers🤘💥 #Repost @enharmonictavern_official ・・・ Owner of THUNDERS, Barnzley wearing Enharmonic TAVERN in WHATNOW MAGAZINE. #respect #legend #london #🇬🇧#enharmonictavern #denim #blouson #eht #product #concept #designs #designers #instadesign #industrialdesign #designlife #productdesign #instagramjapan #cooljapan #beautifulmenswear #mensfashionpost #mensfashion #guyswithstyle #outfitoftheday #fashiondiaries #menwithstreetstyle #menstyle #mensweardaily #menwithclass#urbanandstreet