Paul Gorman knows a lot about British subcultures. If you’ve looked for anything particularly niche online that pertains to London’s forgotten boutiques or obscure publications, you probably stumbled onto Gorman’s blog. For instance, his site houses the only details I’ve seen on Rivington Street store Modern Classics. He’s a good match for Nick Knight’s SHOWStudio, and he just opened his enviable magazine archives as part of the Print project on the site. Alongside articles on important publications like Cheap Date, it’s set to up features on Scott King and his Sleazenation work, plus an analysis of Peter Saville’s work on 1989’s New Order Untitled book — a tour programme that Saville barely finished in time for the tour’s conclusion. For many of us, youth culture and memorable magazines tend to fall into the same list — 1970s and early 1980s NMEs, Rolling Stone at its peak, Blitz, Interview, i-D and The Face. Gorman sidesteps the obvious to talk Lou Stoppard through some barely discussed gems — West One, Rags, Street Life, 19 and Ritz being just a few. Who would have thought that a jazz mag like Club International started with such strong artistic inclinations? The accompanying discussion gives some important insight regarding the role of the magazine as leader, then follower when it came to youth movements. Take 54 minutes out to watch this video, then check out all the features on the Print pages of the SHOW site. Afterwards, I recommend hitting up eBay to discover just how obscure and tough to track down some of Gorman’s gems are. A real education — just in case you thought you knew it all.
There’s plenty of little moments scattered across publications that altered the course my career would take in one way or another. Back in mid 1998, The Face ran a ‘Fashion Hype’ (and hype would become a word attached to these objects like a particularly excitable Siamese twin in the decade that followed) piece on the newly opened Hit and Run store (which would be renamed The Hideout for presumed legal reasons by 2000). This two page spread was a rundown of things I’d never seen in the UK and sure enough never seen them with a pound price next to them. I immediately rushed out and asked a couple of Nottingham skate stores if they’d be getting any Ape, Supreme, GoodEnough or Let It Ride gear in, only to be met with a blank stare. lesson learnt: Kopelman had the hookups that the other stores didn’t. This Upper James Street spot was selling APC jeans for 48 quid, while Supreme tees were only a fiver less than they are now. The 1998 season when Supreme put out their AJ1, Casio, Champion tee, Goodfellas script design and Patagonia-parody jacket was particularly appealing, and it was showcased here, while SSUR keyrings, BAPE camo luggage and soft furnishings were a hint of things to come. I guarantee that once you made it to the store, a lot of the stuff that you assumed you could grab with ease would be gone — an early life lesson that hype just isn’t fair.
What’s all the fussing and feuding for these days? I’ll never understand the people pretending that they emerged from the womb fully clued up, nodding sagely. Life is about discovery and evolving tastes. Got into something a year ago? Feel free to comment, regardless of what some old misanthrope who hopped on it five years prior tells you. Those who were really there at the start of anything, don’t sit and waste their time typing, blogging and dissecting them, unless they made a bad business decision and ended up on the outside. If something makes a few thousand kids YouTube Ninjaman or New Order, even if it’s just to get bragging rights over their online peers, then it can only be a good thing. then A brand like Supreme might not have been as widely discussed 20 years ago, but it was still fêted enough by the style press to warrant a page in The Face around Christmas 1995 — a magazine that was on the shelf of my local newsagent, with a then-circulation of around 113,000, back when mentioning anything in relation to Stüssy had us interested. Supreme was even on the shelf relatively locally at Dogfish in Cambridge for a bit earlier that year. It wasn’t necessarily a secret society then either — just a good brand, carefully distributed.
My updates here have been sporadic due to work distractions. For that, I apologise (I actually need to get this basic blog template redesigned at some point soon too). A couple of pieces I wrote are in the new 032c. It’s easy to become jaded in a world where much of what you love has become cyclical cultural mass, but that’s how you become so embittered that you render yourself unemployable. I still manage to get hyped about things like this. As somebody who’s an admirer of ACG, 032c and ACRONYM’s work, I was excited to see the All Conditions Gear article we put together in the new issue, plus an extract from a conversation I had with Toby and Sk8thing from Cav Empt. There are longer versions of the interviews that might find their way online too. Shouts to Joerg for letting me get involved. Go pick up issue #28, because it’s still the best magazine of its kind on the market — the What We Believe piece is bold and brilliant, plus there’s a rare spot of Supreme print advertising in there too. There’s an 032c clothing line coming soon that, going on the strength of some brief IG previews (and knowing that they don’t do anything by half), will be good.
On the magazine front, upping the seminal Ruder than the Rest article from an early 1991 issue of The Face half a decade ago amassed a lot of interest at the time, with this period of real London streetwear barely documented or celebrated. The logical follow-up to it was Norman Watson’s Karl and Derick styled New Skool shoot (mentioned on this blog a couple of times before) from later that year (which includes Mr. Charlie Dark as a young ‘un). That piece united skatewear, streetwear and sportswear perfectly — Nike Air Max and Huaraches worn with Pervert, Poizone, Fresh Jive, Anarchic Adjustment and Insane, plus haircuts by Conrad of Cuts and Rollin’ Stock. It was incredible — the look that dwells in the Basement and gets hectic in Wavey Garms now, but back when it really seemed to take form for a wider audience to watch from far, far away.
6:77FlyCreative have put together an exhibition called Ruffnecks, Rudeboys and Rollups that gathers imagery from this pivotal era of style in the country’s capital, with submissions from the likes of Normski. It runs from a private view on Friday, May 22nd to Sunday, May 24th at 5th Base Gallery at 23 Heneage Street in east London, with some very appropriate sponsorship from Supermalt. I’m looking forward to seeing it, and I hope it’s the start of something even bigger.
Linking every topic above again, something interesting is happening with The Face archives by the looks of things — Maxwell Logan and Nick Logan have started an Instagram account called THE____ARCHIVE that showcases me gems from the magazine’s vaults for its 35th anniversary, like these logo prototypes from Steve Bush. This outlet, plus Paul Gorman’s book, should provide some extra insight beyond the fancy design and memorable features. It’s the 35th anniversary of the very much alive i-D this year too.
You may have noticed a predilection towards rap magazines here before, and finding a stack of 20-year old publications a few weeks back I thought I’d lost had me feeling a little nostalgic for the days when WH Smiths had at least a few homegrown publications of worth on the shelf. Mainly because, with my Medusa touch, I managed to make every single UK rap magazine I’ve ever written for fold within a few months of publishing my work. Hip-hop magazines are a hard sell when you can log on and get something more up to date or catch something long form on Unkut or Complex.com, but there’s room for something created with care that captures the current state of the industry. Those with a long memory will recall an underrated British ‘zine called The Downlow that ran for four or so years (1992-1996) with an over designed, occasionally unintelligible layout with a ton of electronic typefaces that recalled David Carson’s work on Ray Gun around the same time or Neville Brody and Jon Wozencroft’s FUSE. It favoured words over pictures. 1992’s BLAG (which is, admirably, still standing) and 1995’s shortly-lived True (which switched to Trace after True folded) united hip-hop culture with style well, bringing some spirit seen in America’s Vibe and The Fader. I’m interested to see BRICK, a new British hip-hop publication, in the flesh — especially after enjoying the second issue of another London-based project, Viper. Founded and creatively directed by photographer Hayley Louisa Brown, designed by POST — and edited by RWD’s Grant Brydon, the careful approach to the all important look — complete with custom typefaces — is both evocative of the more sincere locally created mags of old and hip-hop’s current aesthetic (despite, bar honourable exceptions, a dip in the quality of album cover art during the last decade). Neil Bedford’s shots of Supreme-hating, Cobain swag jacking stoner Wiz Khalifa for one of BRICK’s cover stories made the Daily Mail (we’ve come a long way since that Snoop “KICK THIS EVIL BASTARD OUT” Daily Star cover) and hopefully that attention will turn into sales. Shouts to the team for making it happen. Go check out this fine It’s Nice That feature on the making of issue #1 and visit the official site here.
On the subject of rap and typography, the Heated Words crew are studiously examining the history and legacy of the mysterious but influential b-boy font seen on Dynamic Rockers, RAMM:ΣLL:ZΣΣ, Mick Jones, Biz Markie, Malcolm McLaren and Joe Strummer that defined 1982-era hip-hop style. Supreme have used a replica of this classic heat pressed typeface several times and Alex Olsen’s Bianca Chandon recently homaged a Paradise Garage tee with it on from back in the day. It’s integral to UK street style too — imported by intrepid tourists who hit up the Albee Square Mall to get a custom creation and the Heated Words: Initial Research exhibition to set off the project opens on the 27th of this month for a couple of weeks at London’s House of Vans. Videos, photographs by Martha Cooper, Mike Laye, Michael Markos and several others, old ads and some of the clothing in question. If you like some of the nonsense I link to here, you’re liable to really enjoy this one.
While we’re talking old magazines and Neville Brody, this Gilded Words piece is great: Jamie Morgan talking about a contact sheet from a classic Buffalo shoot for with Felix Howard for the March 1985 issue of The Face and the moment when every person started calling themselves a stylist.
Huaraches have been ruined by appalling colourways and weird shapes, plus the fact they’ve been rereleased in one of the least imaginative periods in recent history. But not everybody shares that opinion. In fact, the shoes offer almost Jordan levels of traffic if you’re looking for click bait. My friends at Complex asked me to write a brief history of the shoe (excluding the pre-release situation when the shoe was scrapped) in the UK. That’s a good excuse to put that murky, lo-fi photo of the best way I ever saw the shoe worn (sans laces too) from The Face back in 1991 back up here. No time to do much of any substance on this blog today, so head over there if you want something a little longer. This nation did the shoe thing better than anyone else back in 2000. Now? Not so much.
Can we use the news of Neneh Cherry dropping a new album with Four Tet as an excuse to put pictures of her in the late 1980s and early 1990s up here? My crush on her was colossal and her personal style put me onto some serious shoes — she looked incredible in those Air Delta Force Hi makeups and the adidas Attitudes with the pattern on the upper. Around 1992, when she was recording with DJ Premier she broke out those Jordan IVs (I’ve put up the picture here before), which seemed like a blast from the past back then before the reissues. Neneh has more swagger than any of your male sartorial role models.
I’ll repeat myself on another matter too — what was so wrong with the intimidating shopping experience? Now there’s competition from the internet and stores take strange, cuddly social media forms to keep you in the loop, but I’ll always cherish those memories of coming to Soho and feeling intimidated wandering into the stores I spotted as stockists in The Face. It wasn’t that you got scowled or growled at, it was just that you seemed to be completely transparent when you entered those doors. My younger self always found complements on a record or item of clothing from those staffers to be something to cherish and the experience made me appreciate an object more. It was a rite of passage of sorts and to get conversational was even more of an accomplishment — some of the best staffers over the years seemed to act as a filter against stupidity. Without them the floodgates are open.
Half the moaners who complain about poor service are liable to enter a shop with a storm cloud expression anyway. I’ll miss The Hideout for the chats about esoteric documentaries and the labels I couldn’t get anywhere else. Remember their Probe account days or taking the wrong turn to find Hit & Run? Michael Kopelman has gone beyond the call of duty to help me out over the years and Richard is one of the ultimate raconteurs. That store had the Post Overalls account at least half a decade before workwear hit hard and they got Jim Lambie on a shoe collaboration (among other things) — the industry has dumbed down since. Farewell to another London institution.