INSANE: VERY BRITISH “STREETWEAR”

This blog was actually meant to be about British things. Back when Acyde asked if I wanted to contribute, it awoke some kind of blog-demon within me and I tried…really, really tried to keep it British as a point-of-difference from all the other blogs out there, but I got bored and my yankophile tendencies got the better of me. I’m not trying to be a flag-burner, but a lot of British stuff (note the fact I said, a lot — not all) at street level is fucking corny. If it’s good, the minute you’ve covered it, you’ve wrecked it — like one a well-meaning missionary introducing a remote tribe to western confectionary and soft drinks, and managing to destroy their way of life in the process. Of course, America and Asia is riddled with corniness too, but we’ve condensed corniness.

Plus – if we’re talking “streetwear” — the good, aspirational stuff is meant to be on the cool kids, not the gimps. But now the tough kids wear black hoodies, vast tracksuit bottoms and Fila F13s or Air Max 90s, not the eclectic, expensive garms that led me to my “career” path. Nerds wear all the pricey brands – hardrocks probably aren’t paying more than £25 for a hoody. I used to assume that if you saw someone in a Supreme box hat, they were — in some idiotic, cliquey generalisation — one of “us.” I don’t even know what constitutes “us,” but the box is so ubiquitous, that I and most wearers are estranged. We’d have nothing to say. Supreme is still one of my favourite brands, but I can’t assume that I share an affinity with each and every wearer any more. It’s probably a good thing.

So I can’t be bothered to rep the UK specifically any more. It’s too limiting. Alas, this entry was written on a PC, where Photoshop and something as simple as Grab don’t exist. Even the card from my camera isn’t compatible. As a result — until I visit a Genius — the imagery here is just pilfered from elsewhere (with credit, of course).

I don’t feel that there’s enough history on UK streetwear pioneers on the internet. There’s a certain Brit-mindset that’s keen not to blow our own trumpet too much, doubly downplayed by avoiding blasting those brass instruments in a realm where to enthuse too much is uncool. As a result, things just disappear. We had to get to where we are now somehow, but after the popularity of the raggamuffin style blog entry here last year, I thought I’d take a look at skate culture in the UK and a key brand. Brit-publication ‘RAD’ (that neon sticker that ‘SK8 Action’ tried to bite was kind of the box logo of its day) taught me a lot. it had me hunting for Slam City Skates and M-Zone (the UK’s Stüssy spot of choice, where jackets seemed to price hike from £50 to £200+ between 1987-1991), and it introduced me to some British skate brands like Poizone and Anarchic Adjustment, but it’s Insane Ironic Skate Clothing that evokes the fondest memories. Ged Wells is a UK pioneer.

Looking back at 1980s skateboarding, Americans seemed to be in two camps – the neon, hair metal rockstar idiots or the gnarlier, tattooed Santa Cruz kids. The British contingent seemed to have merged the two to look an awful lot like squatters and crusties. I find it hard to get misty-eyed looking back at old ‘RAD’s (BIG UP DOBIE and check www.whenwewasrad.com for scans of old issues) in terms of fashion, but Insane was something far ahead of its time. Skate style in the UK isn’t something that could come effortlessly — we’re not really a print tee kind of nation, so that look would always seem imported and as a result, extremely posey and awkward. Not Insane. It seemed to take few cues from the States and channelled that oddball charm that makes British skating so evocative with its cartoons, fluid, bouncy fonts. It was strange-good.

Insane was the forefather of Slam City affiliated brands like Holmes, Silas (with artist James Jarvis providing their unique character-led world) and Palace. The romanticized notion of all skaters as artists is of course bollocks, but Ged could switch from foot planting in a pair of Visions (or were they Pacers?) to creating these weird garments. I’m sure Insane was inadvertently responsible for a fuckload of awful clubbing-related brands too — the kind that would be bunched together in distributor ads at the back of ‘i-D’ magazine (with whom Insane actually collaborated for tees), but it’s not the brand’s fault that people were and are idiots.

Circa 1989, Insane seemed awesome and underground. Before Insane, there was talk of the Jim-Jams brand that led to the Ironic Skate Clothing’s genesis. It was on tees, bum bags, sweats, shorts, hats, jackets, videos (‘Mouse is Pulling at the Key’), stickers and tracksuit bottoms. The adverts in themselves were mini-masterpieces. There was even an Insane Skate Supply store in Camden in the mid 1990s. It could be displayed alongside Stüssy without shame or any allegations of lo-fi imitation — the strawberry graphic tees and shorts were particularly good. Insane was very much its own entity. How many other brands could claim that? Ged’s work was present on skateboards for Slam City, but they distributed Insane too, doing a fine job of getting it into spots like Glasgow’s legendary Dr Jives.

In many ways, Insane’s ascent occurred at the point where vert died and the freestyle kids got the last laugh (well, the ones with business minds anyway) so it’s popularity in 1991/2 ran adjacent to an exciting, progressive time for skating. Having launches at the Wag Club in 1989 just conferred the merger of the era’s most well-regarded spots and subcultures. ‘Face’ and’ i-D’ photo shoots placed the gear alongside Nike and Stussy too in a raggamuffin style. The surreal imagery even captured some of that Native Tongues hype of the time. Over a decade before Robin Williams got kitted out in UNDFTD and BAPE, he could be seen sporting Insane around the time of the underrated ‘The Fisher King’s release.

Nothing gold can stay and Insane ultimately left us, but Ged’s still active as an artist and designer. He’s exhibited fairly recently and remains progressive and innovative, but (refreshingly) he doesn’t seem to shy away from his Insane work. He has something to do with Trisickle magazine too, but I’m not sure what happened to the plans to resurrect Insane and retro key pieces in 2006 (was that inspired by the nostalgia tsunami ushered in via Winstan Whitter’s ‘Rolling Through the Decades’?). A Japanese audience obviously took Insane (and Slam City Skates) in as one of their own, embracing the overseas authenticity of these legit Brit reinterpretations of a Californian artform — just as that R. Newbold ‘Monster’ tee Slam City colab seemed to arrive from nowhere, it was refreshing to see Japan’s Tokishirazu team with Insane for an anniversary collection a couple of years back.

All the Insane images here are pilfered from Ged Wells’s Flickr account
www.flickr.com/photos/gedwells — go have a dig there for some classic ads, shoots and apparel, plus information on how some imagery came to be. His website is www.gedwells.com.

As a sidenote, ‘RAD”s letters page actually had an email address in 1988, using British Telecom’s complicated-looking Telecom Gold service: 72:MAG90459 from a time before @’s were the in-thing.

Slam City Skates logo designer Chris Long’s online portfolio (www.chrislongillustration.com) has an excellent ‘Relax’ cover from winter 1996 he drew that captures a very UK style.

NOSTALGIA OFFSET

Taking pictures from a Facebook account is a lowblow, so I’ll avoid it, but the homie Thomas Giorgetti (who knows more about sneakers and graffiti than you or I) is making power moves with the Bleu de Paname brand alongside partner Christophe Lepine. The line just gets better and better, defying the preconception that it could just be another denim brand, or another workwear renaissance. It’s far more than that. The pocket tees and sports jackets were killer and Thomas premiered a sample of a Comme des Garçons collaboration on his Facebook the other day. Great line and an astonishingly quick ascent in such a short time. Gun fingers to the sky for Thomas. That and ‘Crack & Shine’ #2 are two things worth looking out for over the next few months.

HAND OF DOOM

After peeping the Nike archive, I’ve been pondering some near-mythical forays into the musician-footwear realm. While Nike’s emphasis in the 1970s seemed to be to step on adidas’s toes as much as possible (which is well documented in the book ‘Swoosh’), but it also ushered in some oddities that have been whispered in collector circles for a few years. The Yeezy? That’s new-jack stuff.

Next year that mania’s set to reappear, but looking back to the brand’s early days, in 1975 Sir Elton John got himself a proto-pair of Nike Bespokes—Geoff Hollister made him a multicoloured platform pair. I’ve never seen that actual pair, but the recently unearthed Cortez-sole, Roadrunner upper looking pieces—placed on eBay by an ex bouncer from a club that had them on a wall display after a visit by Elton – fit the mid ’70s year of origin by silhouette and described makeup.

That relationship seemed to flourish, but the later release for a full tour crew that seems to date to around 1980 with shades of Daybreak or Tailwind in the upper is a personal favourite in terms of makeup and execution. The fantastic Gallic video from sneakers.fr showing Edymalawi’s phenomenal collection offers a couple of extra musician SMUs—the aluminum swoosh runners for Rod Stewart’s band that seem to be on the same sole unit as the Eltons from the same era (the sole looks like a Nike Leisure’s sole). Imagery of the mysterious Bob Marley rastas that were reputedly made for the legendary adi-head still eludes me, but the Devo versions (again, looking like the Elton and Rod silhouette) are another revelation.

I need to find out more about the mysterious Nike musician rollout.

It’s magazine season again. The highlight of this month’s offering is a new issue of ‘Manzine’ that ups the content, stays irreverent (and non-cunty in that approach too) and incorporates a great pieces on the Berlin doner kebab, female pubic hair, nuclear bunkers, everyday glass design classicism, fatherhood, driving etiquette and misspelt names on Starbucks cups. It’s fucking brilliant and a hotbed of experienced writers let loose without being tethered by ad money or ABC circulation. The illustrated Oi Polloi advertorial is a highlight —the antidote to the solemn treatments to clobber elsewhere. That’s why Oi Polloi keep their lead while everyone else copies their buying policy. Just fucking buy ‘Manzine’.

If, like me, you insist on spending thirty pounds on magazines which only get a brief browse and you justify them as a future research investment, you’re probably deluded. Berlin’s ‘032c’ marks its twentieth issue by including a vast feature on Rei Kawakubo with an essay my Mr. John Waters to introduce it, an interview with David Simon that isn’t wooly like a Guardian chat and a great piece on Arc’teryx Veilance that lets Conroy make himself heard. Veilance is awesome. Soon, everyone will realise this. Having to travel to DSM rather than my usual news stand near Carnaby Street to pick it up was symptomatic of the strange, staggered approach to dropping publications that hinders casual discovery. This issue is great.

b Store’s ‘b’ magazine is still better than it should be too. A store’s magazine should be a glorified self-promoting lookbook. That’s how it’s meant to work, and I’ve never assumed otherwise. ‘b’ doesn’t do that—instead it offers product without the hard or soft sell. That’s supreme confidence. The piece on collectors is good, as is the Stephan Schneider piece. Obviously, the incorporation of Champion (which you should buy from the Original Store on these shores) in shoots is a strong look. Blending athletic wear and casual coats are in every spread I see at the moment.

Along with sunglasses I have issues with gloves. Padded ski numbers are a simpleton look, but traditional leather numbers make me look like a Nazi sadist or Giallo-style murderer. I can’t pull that off. Thank you to Mikkel and the Norse crew for creating those tan deerskin numbers with Hestra. My hands are safe as the temperature prepares to plummet, but this video from a few months back from the aforementioned Arc’teryx brand makes me want Alpha gloves from them too. GORE-TEX gauntlets are my kind of thing.

Here’s a picture of John Lydon in the PIL era wearing a pair of Air Flows too. It’s an odd pick…but somehow it makes sense. If there’d been a Lydon SMU, that would have been one to track down.