Tumblr might be rife with anachronistic blends of 1990s and 1980s thrift store and eBay overspend styling, but there’s a few little spots where you can see some shots of those who were there with all the gear and some serious shoplifting skills. Having said that, is getting that throwback outfit historically correct even a thing any more? The internet has created its own timeless gang bang of reference points and music that makes historical correctness redundant. For a new generation, 1996’s iconography is as prevalent as what’s happening now. Factor in the sheer amount of homages to expensive technical outer wear and the reappropriation of rich guy garms of the 1990s and then has become fused with now like never before. Characters like Rack-Lo represent the old guard, and I never get tired of looking at the pictures from their past, as well as the different array of themed outfits you need to be up on if you rock the horse. His self-published The Lo Life Adventures of Rack-Lo book is online here and worth a browse.
Happy new year. Hold off the social media threats of impending greatness and triumphant/anti-hater sloganeering for a minute and realise that you’re not going to be as successful as Ralph Lauren in 2015. Still, it’s something to aim for in the long-term though, and this interview on YouTube with China’s Oprah-esque media mogul Yang Lan (I originally, excitedly, read the title as, Yung Lean One on One with Ralph Lauren) at his NY home is worth a watch to extract some tips from. There’s nothing too insightful here if you’re already a fan boy or fan girl, and the sound inexplicably turning mute 30-minutes into both one-hour segments isn’t too helpful either, but it’s interesting nonetheless. Incidentally, am I the only person who finds the new label in Polo gear deeply disorienting?
If you’re looking for ideas to borrow this year because you haven’t got your own, you could do a lot worse than get the retrospective of former Junya Watanabe turned solo innovator Chitose Abe’s Sacai brand from Rizzoli when it drops in April. Sacai: A to Z compiles 16 years of experiments in fit, material and design from a Japanese label that’s acclaimed but seldom explored in any great depth with essays from people who know what they’re talking about like Tim Blanks.
The Mo’Wax Urban Architecture exhibition at the Royal Festival Hall wasn’t quite as grand as I expected (newcomers to the label should pick up the book for some background), but the densely packed cabinets should make the visit worthwhile if you’re interested in early 1990s hip-hop and it’s connections to London and Tokyo. While all eyes might be on the canvases, these displays are full of elements omitted from the tie-in publication — James Lavelle’s business card hoarding seems to have paid off. I hadn’t even thought about Yankee Peddler since the mid 1990s, when he had the ads in toy magazines that promised a veritable emporium of action figures and made me wish I owned a fax machine so I could get a catalogue. That Major Force card gives me Patrick Bateman levels of envy too. I’m not sure how many casual browsers passing through the Festival Hall would care about this kind of thing, but I certainly appreciated it. Shit, I’d gladly pay to visit a show that was entirely 1985-1999 hip-hop business cards and if you’re similarly geeky, go check it out before it finishes later next week.
The only marketing I’m interesting in right now is these urgent adverts from 1995 pirate radio stations like Shockin 90.0 and Dream FM 107.6. Defunct Kingston clubs, tape packs, and things that only Brits of a certain generation will be able to comprehend, are just part of the announcements recorded here. This beats your carefully mapped communication strategy.
Port magazine‘s cover story on Ralph Lauren by Donald Morrison makes the most of a rare opportunity and it’s refreshingly free of the sycophancy that I would have brought to it (though the celebrity soundbites are full of superlatives). I was trying to fathom the influence on Mo’Wax the other day, which was influenced by Stüssy and the Beastie Boys, who were presumably influenced by the Clash who may well have taken inspiration from Vivienne Westwood and Malcolm McLaren’s work. It’s tough to pinpoint a solitary influence in things I love, but I know one thing: Lauren’s company is the brand that every streetwear brand wishes it was, even if most of us are chasing the little pony rather than aspiring to ride a horse on a ranch somewhere. Nobody sells a lifestyle like this guy. The world density map of stores is a nice touch (there’s 474,951 square feet of Ralph Lauren stores in the States) too.
No time to write so it’s time to throw up more Polo and RRL ads from the past. It’s safe to say that the saxophone tie isn’t the strongest look from the Ralph Lauren archives — their ad spend in magazines during the late 1980s and early 1990s seemed to be enough to buy a private island. I still need to dig out that LIFE article from around this time that debuted the American flag knitwear.
There’s not a lot of stones left to shift in the quest to bring old classics back, but the New Balance M997 seems to have been resurrected the right way. It took a lot to release a shoe in 1990 that had some visual restraint that affords it an ageless quality, but NB did it with this one, despite applying all kinds of technologies like motion devices and rubber compounds with complicated names.
It’s a good time to be into the most esoteric and underexplored elements of hip-hop culture — there’s books on European b-boys posing and there’s a Shirt Kings retrospective, so why shouldn’t there be a book of Buddy Esquire’s flyer art? Born in the Bronx was a good primer, but Buddy Esquire: King of the Hip-Hop Flyer arrives in June and delves a little deeper of the man who created modern art from the flyer format before it was just a case of Photoshop and an existing iconic image.
Once again, i haven’t got much to talk about on here today (freelance duties are taking over), so I’ll completely cop-out and throw up another The Face magazine scan from 1999. It puts my mind at rest that I’ve at least blogged something.
If it’s a tenuous link you’re craving to at least mildly relate this to a current project, a Kickstarter drive to raise enough dollars to fund a documentary about HR from Bad Brains and his eccentric ways. ‘HR “Finding Joseph I” could be good if it at least gets to the bottom of the greatest band frontman of all time’s (in his day) psyche. Is he schizophrenic, an eccentric or are the crack rumours true? I know he spent some time living in a legendary streetwear brand’s warehouse, but the tales of his time out between lineups and shows are patchy and I’m hunting for answers. This trailer has done the blog rounds in the last 48 hours, so I feel it’s my duty to link to something good as an addition to this — the entire festival cut of the documentary Bad Brains: A Band in DC is on Vimeo right here and it’s excellent. There’s an animated sequence depicting their tour bus being jacked in the early days, conversations with key characters from their past, some ultra candid footage of Daryl switching on HR after a duff performance in 2006, talk of that infamous Big Boys incident, those troubled Maverick days, but amid the chaos there’s a celebration of a unique group that inspired a generation to pick up guitars and make noise, plus a great observation regarding Bernard Purdie and Earl Hudson’s unflappable delivery of rhythm. If you haven’t watched it yet then you really owe it to yourself to take 104 minutes out of your fake busy schedule to educate yourself, because A Band in DC was well worth the wait. While it’s comprehensive, at its conclusion, the HR enigma will play on your mind and that’s where Small Axe Films’ mooted creation fits in perfectly as a follow-up.
In this MTV 120 Minutes interview (minus HR), Daryl Jenifer appears to be wearing the Air Jordan IV to reiterate the Jordan line’s connection to hardcore. That shoe features heavily in the this feature from The Face. The Jordan Years was co-written by Fraser Cooke and, while a sub-editor seems to have made some questionable decisions in the bylines and that quintessentially British decision to omit some of the stranger Jordans pre and post 1995 is there (it’s also curious that the Jordan V and VI never got a picture) there’s some good facts in there too, plus some much-deserved love for the overlooked Jordan XI Low IE (International Exclusive) and talk of its “inspiration” on the Prada shoe of the time as well as some talk with Tinker Hatfield. At the time, this kind of thing was more commonly seen in Japanese publications, so picking it up in WH Smiths was a major novelty.
On the apparel front, the white hoody from the new Ralph Lauren Wimbledon Collection that’s adorned with an old English font (in an appropriate shade of green) wouldn’t look amiss in an Eazy-E video over a Rhythum D production (alongside goons sporting the Karl Kani check shirt with the chest plate) if he was repping SW19 rather than Compton.
It would appear that I’ve gone, to quote Pusha T, “Laptop hot, internet warm” of late with an unexpected inclusion here. I’m unlikely to start trying to tell anybody how to do up a tie or identify the suit that suits them. In fact, I feel bad for all the people who clicked through, then saw a rambling eulogy to Michael Winner and home invasion movies. Sorry about that. I suppose the recurring Lifshitz theme borders on menswear and, according to store employees (who, lest it look like I’m trivialising their unemployment in a tough market, assured me that the Lauren company is looking after me) the London Rugby Ralph Lauren store closes this weekend, as the Rugby side of the business draws to a close. Let’s face it, you never made a point of traveling to the stores, did you?
That’s because Rugby fell into a strange realm where the brand, launched in 2004, lacked any real identity beyond being a whippersnapper Polo. The preppy aesthetic is present in many Polo pieces and the majority of strong Rugby designs were pretty much interchangeable with its big brother. With the opening of a UK store in 2011 seemingly aimed at the sector who’d graduated from Superdry technical college to the former poly that was Jack Wills, I can’t help but think it was a little misplaced — timed just as Jack Wills wearing bellends made a slow move to Streetwear Dave brands like Hype. Can Ralph cash in on streetwear? He doesn’t need to, because he’s instrumental in igniting many, many, many facets of that industry (ask your favourite “streetwear” and skate brand overlords what their favourite brand is in terms of wear and inspiration). And, as I’ve noted here before, there’s an official Ralph Lauren site (Ralph Lauren Vintage) talking up Lo-Life favourites and pledging reissues. Ralph knows.
So that was the end of the brand launched to capture the hearts and expendable/parental income of 14-29 year olds. Better than CHAPS, but not as hard as ‘Lo — that’s what the gravestone will read. What will Rugby be remembered for? While the majority of the products blur into one vast beige cotton twill and navy mass with twee collegiate cues, the all-over skull embroideries were amazing. Who else pumped out prep-goth like that? With THC-addled YouTube conspiracists keen to pinpoint French Montana and friends as satan’s spawn for waving their fingers around in a certain way, there was something strangely subversive in how Rugby merrily took inspiration from Yale’s Skull and Bones secret society. One day you may mourn not picking up those shorts, if nothing else, because they’re currently being sold dirt cheap. Sadly, this secret society’s global conspiracy for world domination has come to a close.
While we’re talking dirt cheap Rugby, what’s all the fussing and grumbling about with regards to Pyrex Vision? Mad because they took a shirt and stick some letters on it? You would have been apoplectic in the early 1990s — those lazy folks, just sticking letters on Champion, Gildan and Hanes blanks. Are you really annoyed because they never took the ‘C’s off the mesh? André Courrèges tributes are nothing new, pretty much dating back to Supreme’s earliest days, but I salute Virgil and the crew for getting their Malcolm McLaren on. Reappropriate it, hype it and they will come. Isn’t that the essence of streetwear? Chuck a Dipset reference in and you’re good to go. I’ll take a hustle like that over whatever fake artisan crap I’m supposed to be taking an interest in at the moment. Spend less time moaning in comment sections and more time buying up closing sale gear and making famous friends and maybe you can make that Pyrex money too. Who needs coke and Arm & Hammer when you’ve got cotton and a buddy who screen prints?
Jean-Noël Kapferer’s ‘The Luxury Strategy: Break the Rules of Marketing to Build Luxury Brands’ is a pretty good read (example heading, ‘Prolonging the ecstasy of a privileged moment’) if you’re hunting case studies and theory. It’s doubly handy if you’re building your own cliquey, willfully exclusive brand (it’s a good accompaniment to your cut-price Rugby shirts and printing hookup), but I’ll discuss more about it another time. This diagram of the Ralph Lauren galaxy is taken from it. It lacks RRL and Polo Jeans for some reason, but it’s a quick-fix glimpse of an empire. You can bet something will appear to fill that middleground void and accompany Club Monaco.
Affordable and Ralph Lauren co-signed publication ‘Men’s File’ has got a book coming out in August called ‘Men’s File: Tracing the Roots of Style’, written by Nick Clements and released on rockabilly and Americana-centric imprint Korero books. Promising a visual collection that examines revivalism as something that’s far, far more than a game of regressive dress-up, going on the magazine’s work, this could be worth picking up.
If in doubt, just pillage a magazine archive for ads. I like to ramble on about morphine-addled authors and the like, but it goes quadruple balsa in terms of visits (still, all of you who read that stuff are quadruply appreciated), so every now and again it’s good to conform to typecasting and up some old Polo stuff. Anyway, if you haven’t already been to Oi Polloi and checked out ‘Pica~Post’ No. 3, I feel bad for you. And if you’re a rival retailer, I quadruple dare you to beat that photo shoot of people bearing fish. Today I mentioned somewhere that 2Pac in the Karl Kani ads beats pretty much all photoshoots bar the Staple X book and Chimp’s canine cap project, but that one’s a winner too. The Andy Votel piece in there about a collector mentality and the birth of Oi Polloi (plus steel-toed adidas Shelltoe obscurities) is also excellent. I wish I could answer his decade-old film query. I’ve got one of my own — a late 1970’s/early 1980’s sci-fi horror that involved a paralysed man with a robot assistant that turned bad. It involved a decapitated head in a washing machine and no, it’s not ‘Demon Seed.’ If you know the answer it’ll be rewarded. I managed to solve the mystery of what the film was where a man went down a mystery hole to hell and went insane (‘Encounter With the Unknown’) or the film where a boy with an aging disease was cast as an alien (The Aurora Encounter’) but this is the only film from my childhood that I just can’t name. Anyway, on the northerners who know their stuff front, ‘The Rig Out’ No. 5 launches tomorrow. A good time for paper coverage of clobber. I wish I could use the term “madhead” in conversation, but as a southerner, it doesn’t work. Anyway, go check those things out. To pad out this blog entry, here’s a slew of Polo ads from between 1979 and 1986, taken from ‘Texas Monthly.’ That big money region was evidently a Polo hotbed. There’s some repeats between this and the ‘Ralph Lauren’ book, plus the handful of Polo-centric Tumblrs, but that illustrated ad above, depicting the Lauren life an overblown cinematic style is amazing and warranted inclusion here. And is there much call for wild knitwear in Texas?
I know we should encourage print publications in ailing times (especially when an online appetite for anything that constitutes content means that a lot of digital features and editorials are at least 40% longer than the average attention span, scattered with “one” in lieu of “you” in a bid at intelligence), but there’s a lot on the shelves that just seems to exist, bogged down with the predictable PR pushes of the moment and lacking any paper pulp identity. I had no idea that ‘TAR’ was still going either. ‘The Hunger’ magazine caught me off guard. I caught a glimpse of it and dismissed it as another vacuous publication that was presumably the pet project of some oligarch’s wife.
Then I found out that ‘The Hunger’ is Rankin’s baby, meaning the level of photography is predictably excellent, but it’s notable that advertisements seem to have been smartly folded into the actual content rather than the bookends of 40+ ad pages we’re used to. If we’re talking in idiot’s terms here — and during a recession it’s always worth reverting to a dopey notion where size and weight determines value — 500 pages for £4 is pretty good.
What really shines is Rankin’s conversations with some of ‘LIFE’s greatest contributors, including Burk Urkel, Guillermo “Bill” Eppiridge and John Shearer in the Documentary section. If you’re UK or Europe based, you can catch Rankin’s pretty good ‘America in Pictures: The Story of Life Magazine‘ right here on BBC iPlayer (if you can’t access it, consider it revenge for the times those MTV links you’ve embedded have denied me) — his passion shines through and he fanboys out with childish enthusiasm on meeting the pioneers of the photographic essay. Next time you’re admiring your Instagram efforts, I recommend trawling through the ‘LIFE’ archives on Google Books to puncture that misguided sense of what’s awesome. I love John Shearer’s ‘The ‘Prez’ of the Reapers’ photo essay (with text from Reginald Bragonier) that ran in the 25th August, 1972 issue. You can read it in its entirety here.
‘LIFE’ ran several excellent gang-related pieces before, but this reflected a new wave of crew violence, depicting the Bronx climate that spawned the Black Spades and inspired Walter Hill’s vision of Sol Yurick’s ‘the Warriors.’ Pride, violence, grief and a face beyond the bravado is present in Shearer’s work and while the article ends of a downbeat note, his blog indicates that Eddie Cuevas — the star of the article — left the gang life after beating the murder case to become a set-painter.
‘The Hunger’s website is strong, offering a plethora of video content and I recommend trawling through the BBC4 ‘All American’ collection to watch a 1981 ‘Arena’ episode on the Chelsea Hotel, four episodes of Alexis Korner’s ‘The Devil’s Music’ from 1979 and the more recent ‘America on a Plate[‘ documentary on the cultural relevance of the diner. You can lose a lot of time constructively while it lasts.
While ‘LIFE’ was a sappy, re-released shadow of its former self long before I was born, Henry Chalfont and Tony Silver (R.I.P.) 1983’s ‘Style Wars’ was a life-changer that offered another Bronx tale. Even catching it long after that fabled Channel 4 screening, those quotes from SKEME’s mum, CAP, Kase 2 (R.I.P.) and Min One have entered the everyday conversational lexicon of me my equally nerdish associates and I as much as ‘The Simpsons’ or ‘Seinfeld’ ever did. It’s bigger than hip-hop.
The frequently great ConspiracyUK radio show (from 27 minutes in), which seems to get some long interviews (with Menace sometimes sounding like Morell from ‘A Room For Romeo Brass’ with a rap fixation) with tough to track down subjects, recently chatted with Henry Chalfant for half an hour on the fundraising project to restore the 30 hours of outtakes left decaying. After the Save Style Wars campaign launched with a questionably fancy looking site that looked like it would flee the country with your credit card details, the new Style Wars site used KickStarter to raise the $28,000 to save them. Last week it hit the funding goal and the extra money will be used to restore the documentary itself. There’s some good incentives to contribute and at time-of-writing, 56 hours left to donate.
KickStarter is also being used to fund the release of Michael Miller‘s ‘West Coast Hip Hop: A History in Pictures’ which has doubled its goal. Compiled, Miller’s west coast rap photography (including the ‘Cypress Hill’ cover shot) could be well worth your time.
Listening to Elton John’s underrated ‘Rock of the Westies’ (GTA players know that ‘Street Kids’ is on point), all I can say is, thank god for that white. Elton’s prodigal yayo habit in 1975 caused him to create bangers with a completely new band. But beyond the sounds, that outfit on the album cover is some unkempt flamboyance. Check the near-beard, deerstalker, polo shirt, dog tag, bugged-out sunglasses and flossy rings, including a keyboard looking piece. Inspirational. This shot captures Sir Elton somewhere between broken and awesome. Rock stars don’t dress with this kind of lunacy any more.
The big aggressively shapeshifting elephant in the room at the moment is ‘The Thing’ prequel. I wanted to like it and some of the effects were strong, but it lacked the absolute dread and sense of isolation that made the 1982 version so necessary. It wasn’t a complete waste of human cells though and no spoilers intended (it has its own self-contained plot), but the segway between movies is smart. The hood might lack fur this time around, but the helicopter markings, doomy thud of the original score and Albertus MT typeface let the film conclude on a high note.
After the backpack talk the other week on Boylston Trading Company, Mr. Frank Rivera gave me the opportunity to write ‘Expendable Income’ — a love letter to the adidas Forum Hi which is one of my favourite shoes. I still don’t know why the story of the shoe hasn’t been told at length before (and there’s still a lot of facts to check and tales to be included), nor why the Hi seemed to be so hard to find post 2002. It’s good to talk Dellinger, crack money and stupid price tags. Click the image or check it out here.
Look around you. 2007 just got retroed. The onslaught of camouflage gear, queues for shoes and the rise of the print. That protectively waxed conservatism had to disintegrate at some point. All over patterned hoodies again? Ralph Lauren himself seems to favour these wintery traditional patterns above the majority of what his empire pumps out, and this Spruce Heather fleece has an air of 1989 about it too. It sure isn’t cheap, but it’s something different for the fanboys. No Polo player on the chest – this opts for a waistband patch logo instead. I like the texture too.
I just found out that Lewis Rapkin’s ‘Live From Tokyo’ documentary about the city’s music culture is finally available to rent on some new-fangled YouTube rental system. It’s worth £1.99 of your money (with a disaster relief charity donation in there too). I love Tokyo.
That London RRL store on Mount Street has got me wanting to spend. The navy dip dyed stuff, deerskin hunting vests, Cordovan shoes which — like many Japanese repro merchants — make use of boxes of deadstock Cat’s Paw heel units, and an awesome N-3 snorkel parka made with Buzz Rickson are all expensive but beautiful. Somehow everything on this blog manages to revert to Polo talk. Last week I heard somebody remark that Polo had gone “commercial.” It was curious to see a complaint like that leveled at a billion dollar business, but we’ve all had that moment in time where a brand feels like our own cosa nostra, oblivious to its history and just how many folks got there before we did. One thing’s for sure – with the Independent and Guardian Facebook apps spitting out old articles and dry snitching on the reader via that loose lipped little column on the right, the British broadsheets only got round to discussing the Lo Life “phenomenon” this summer. Then that UK Lo-Life documentary embarrassed the nation.
Going back almost twenty years, ‘The Face’ was there relatively early, typifying what made the magazine so essential under the Sheryl Garrett administration with the October 1992 (when in doubt, pillage ‘The Face’ archives — please, please, please can somebody make a DVD set of issue scans or a pay-per-view database of that magazine’s halcyon years) feature, ‘Living The Lo Life’ by Steven Daly. It’s a memorable feature for a number of reasons — the gear is fresh rather than tinged with not-as-good-as-it-was nostalgia, the footwear isn’t reissue and it answers and creates a few questions along the way. Young veteran Superia is an interesting focal point — dismissive of Lauren himself, applying a sense of activism to his crusade for fresh rather than reverence for Ralph and annoyed at Harlemite group Zhigge’s Polo gear until it’s revealed that they’ve got a Brooklynite in the crew.
We find out that JanSport is out and that Boostin’ Kev has been discredited too. Beyond that, the photography is excellent — David Perez Shadi (who’s worked with Supreme, BBC and ALIFE as well as being the man behind House of Pain’s ‘Jump Around’ video) took some incredible shots (the bandana is particularly memorable). What was shot but left out the feature? I’m keen to see the out takes.
The list of brands mentioned is interesting, with Tommy, Guess and Nautica joined by Duck Head – presumably only in vogue for a minute, but a curious brand that started life in the late 1800s as O’Bryan Bros workwear, selling union-made Duck Head overalls in the early 1900s, kitting out several country music artists in the 1960s and ending the 1970s with a surplus of 60,000 yards of khaki fabric that was bought by a mill operator, leading to the preppier incarnation of Duck Head that rose in popularity throughout the 1980s and early 1990s with a middle class audience, offering a kind of Polo-lite. They closed a Monroe, Georgia factory in 1996 and shifted manufacture abroad, floundering a little under new ownership and being purchased in 2003, leading to its current position as a merchant of fairly nondescript, low price dadwear. Still, it’s interesting that it once shared racks with Carhartt — another company given some unexpected innercity reappropriation at the same time Polo gear was sneaking past security.
I try to offset nostalgia here, but it seems we can’t avoid 1992’s tractor beam of bold labels and powerful pricetags. It seems to aggravate a few purists that rap’s golden era is a subjective thing — kids losing their mind to ‘Shot Caller’ right now wouldn’t want it any other way, no matter how many times you bang on about ‘Funky Child.’ Consider it a work in progress. But hip-hop attire always seems to hark back to exactly what Superia and his boys were preoccupied with. I’d love to see a publication with ‘The Face’s knack for prescience. Shit, I’d like to see a Friday night show that had segments like this James Lebon filmed piece on Shyheim for ‘Passengers.’
I like Double RL a lot, even if it’s hideously overpriced. Now it seems to be enjoying its moment to truly shine, with Ralph Lauren’s baby — a veritable Mr. Benn dress up in worn-in seasonal costumes that reflect a specific period — being the brand to be wearing. Tres Bien’s recent (intelligent) blast at the RRL sell-in, which was refreshing in a world where everyone seems to be outwardly nice about everything, linked to their Flickr, where they upped a phenomenal set of A/W RRL 2011 lookbook images. Now that’s woah. Sweden’s Très Bien actually have an amazing blog. Now every store feels obliged to have a blog because some tit told them they should, but like Oi Polloi, Très Bien seem so at ease with their chosen subject matter that they can get funny with it — watch them get their Black Rob on in a Dries van Noten post like this. To quote Rawse, fuck a blog, dog (unless you’re going to say something interesting in it). Despite being part of a vast corporation, Double RL maintains a certain mystique, and what’s reported there is probably part of it. They don’t just throw those accounts around like the dudes with ankle-tapper denim that dwell in that strange heritage gear hall at BBB. The very thing that pisses off partner retailers
In terms of marketing and approach, Double RL’s experienced some changes, but I still love the visual language of some of Bruce Weber’s original ads. Once, this line was a personal crusade for Lauren, but a perennial loss-maker in his Ahab-style quest to break the denim market with something he felt was authentic. Continuing the nautical literary riffing, it seemed to be something of a painstakingly vintaged albatross around the great man’s neck, appearing like some attempt to cash-in on a non-existent audience of wealthy grungers who would shell out $175 for distressed jeans in 1993. The Double RL bus doing the college rounds back then seems a little at odds with the densely packed curiosity store spaces and concessions scattered around the globe now. Lauren wants to imbue these pieces with implied stories like a hipper J. Peterman and I’m a fan, but once upon a time, he was buying back $10 million dollar’s worth of unsold stock to prevent it hitting sale racks with a vengeance. However, those horses from summer 1993, previewing the line and a particularly prescient selvedge turnup and vulc shoe combination from 1994 made for bold, brilliant campaigns. By looking back, Lauren was way ahead of his time. Oh yeah, was somebody trustworthy talking about Polo being discontinued soon? I hope it was just a bad dream.
Anyway, these ads are from the 1993, 1994 and 1995 print campaigns.
It’s nice to see these Supreme London box logo stickers cropping up too. This one’s shamelessly swaggerjacked and cropped from the homie Nick’s Tumblr. You knew there’d be a Union Jack Supreme box logo didn’t you?