October, November, December | ISSN 1860-9996 | D € 5,00 | USA $ 10,00 | UK £ 6,00 | SKR 70 NKR 85 | E, F, I € 9,00 | A, B, L, NL € 6,00 | CHF 10 | CNY 100 | HKD 80 | JPY 1400
THE FUTURE IS FOREVER!
STW2D NO. 58
ORIGINALS & INNOVATIONS
Mirko Wagner & Martin Magielka RAPX 1988, photo Markus Rieger
4 / 2016 OCTOBER, NOVEMBER, DECEMBER
»T H E F U T U R E IS FOREVER« Oh well, I have to tell you something. This is the last issue. When I was a kid I was fascinated by action sports and streetculture in all its diversity. Inspired by NYC Hip Hop, LA Surf & Skate style, London’s Punks and staring at Deltas 3d lettering pieces on Amsterdam walls let me combine all of it in my first business adventure; a store we called RAPX. As a teenager with an age of 17 years, my friends and I did things different than normal anyway. Today people call it »out of the box« or a few years ago »guerilla tactics« and what we did, without purpose but with some heartblood involved, became strategies in marketing later. Okay fast forward—30 years later. More precise in April in 2016, we cele brated the day of the opening of that store. What started in 1986 became cult and even that the doors of the store are closed since almost 2 decades the event was highly frequented. It was a blast. It became a huge revival moment for a lot of people. For me it was a very emotional time half a year ago. But, back than leaving RAPX after 10 years in 1996, it was a step to move on, to gain experiences with consulting and special projects for a diver sity off cool companies - creating hypes and vibes in many styles. Turning it in a profession, it was mainly agency business. What I would like to say is that in my past I had the pleasure to travel the
world, see the cities, the mountains, the great outdoors. I have met a crazy amount of talented and cool people creating my world. Especially during the past 15 years with being the founder and editor in chief, the content curator of this publication streetwear today. I gained my knowledge to navigate in this industry and I always digged deep with my journalism approach to not miss a thing. I thought about brand building, marketing skills, trademark tactics too many times. I had the pleasure to follow a whole lot of moves within companies and brands that still shape the future, my future. And since a kid I always wanted to become a director and lead a proper brand in all its marketing actions, let it move forward. It is one of my biggest dreams that now became reality. There are not a lot of Brands that inspired me that much. Since more than 30 years it is my favorite mountain and outdoor brand and one of those shaping my style constantly. It is Burton where I will continue my mission as the director of marketing in Europe. I want to thank all the readers, contributors and fans, all the brands and people that supported me, us and the magazine with enthusiasm. In this stage I cannot talk about a future of streetwear today magazine. But this last one headlines »the future is for ever«, features originals and their innovations, updates on originals.
THANK YOU! MARTIN MAGIELKA
STW2D 58 October, November, December | ISSN 1860-9996 | D € 5,00 | USA $ 10,00 | UK £ 6,00 | SKR 70 NKR 85 | E, F, I € 9,00 | A, B, L, NL € 6,00 | CHF 10 | CNY 100 | HKD 80 | JPY 1400
THE FUTURE IS FOREVER! THE FUTURE IS FOREVER!
Cover: Photo by Skin Phillips
streetwear today the quarterly magazine for international streetstyles
Editor in Chief: Martin Magielka (V.i.S.d.P.) | firstname.lastname@example.org Editor UK | Jason Jules | email@example.com Editor USA | David Gensler | firstname.lastname@example.org Editor: Michael Leuffen | email@example.com Editor: Joachim Offenbacher | firstname.lastname@example.org Fashion Editor: Sara Magielka | email@example.com Fashion Assistance: Meike Ratsch | firstname.lastname@example.org Design: Judith Anna Rüther, Stefanie Levers
IMPRINT ISSN 1860-9996
Further contributors in this issue: Tobias Wirth, Shaja, Lorenzo Taurino,
streetwear today Alte Hattingerstrasse 11 | D-44789 Bochum | Germany email@example.com www.streetwear-today.com
Marketing, Advertising and Publishing: Heavy Traffic UG Alte Hattingerstrasse 11 | D-44789 Bochum | Germany
Martin Magielka | firstname.lastname@example.org Subscription Service, Retail and Distribution inquiries: Meike Ratsch | email@example.com www.streetwear-today.com @streetwear_today National distributor (Germany): Stella Distribution GmbH Frankenstrasse 7 | 20097 Hamburg www.stella-distribution.de International distributors: Austria: Morawa Pressevertrieb | www.morawa.com Belgium: AMP | www.ampnet.be Brazil: H.B. Revistas | www.hbrevistas.com.br Great Britain (UK): Emblem Group Japan: Kaigai Inc. | www.kaigai-inc.co.jp Netherlands: Betapress B.V. | www.betapress.nl
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Norway: Listo AB | www.listo.se Spain: Comercial Atheneum | www.atheneum.com Sweden: Svenska Interpress | www.interpress.se Switzerland: Valora AG | www.valora.com Singapore: Basheer Graphic Books | www.basheergraphic.com Thailand: Peng Ha Shieng Co. Ltd. Printed by: Lonnemann – PrintProfessionals, Selm Paper by: Igepa Profisilk We cannot be liable for unrequested material we receive. Submitted images and unrequested material can be used any time. Reprinting of streetwear today – complete or in extracts – only by written agreement. Published features from freelancers must not share the opinion of the editorial staff. Place of jurisdiction is Bochum.
STW2D No. 58—IIII 2016 OCTOBER, NOVEMBER, DECEMBER
003 The Future is forever! 006 this Page 008 Peak Performance 30 year
Sandqvist x Hassleblad, Redwing 8884, Dr. Martens lite
Oakley WindJacket 2.0
Nike & Stone Island, Element & Griffin studio, Barbour & Triumph
028 Dickies Skate Kevin Penny 032
Volcom & Antihero
036 Carhartt Wip Archives 048 Built by skateboarding Pierre-André
Senizergues and Don Brown
066 SEX skateboards Louis Slater 072
Slam City Skates Jacob Sawyer
Vans Half cab Steve Caballero
080 Vans Vault Taka Hayashi 088 Tubular by Schaja 096 Trick Innovator Daewon Song 108 Jenkem 114
The Playful Grey by Tobias Wirth
De Paris, Of London, Aus Berlin
Snowbeach Alex Dymond
Oâ€™NEILL X JONES
MOUNTAIN ADVENTURE MEETS CALIFORNIA STYLE
O N E I L L.C OM
»THIS IS OUR 30 YEAR ANNIVERSARY COLLECTION, BUT REMINISCING ABOUT THE PAST IS NOT WHAT WE ARE ABOUT. INSTEAD THIS COLLECTION IS ABOUT LOOKING AHEAD AND DESIGNING INNOVATIVE PIECES THAT HONOUR OUR RICH HERITAGE OF UNITING DESIGN AND TECHNICAL INNOVATIONS.« Sofia Gromark Norinder, head of urban design
»THE COLLECTION IS LIKE A CONCEPT CAR, INNOVATIVE AND GROUND-BREAKING, EXCEPT IT’S ACTUALLY READY TO HIT THE STREETS, AND IN THIS CASE, ALSO THE MOUNTAINS.« Sofia Gromark Norinder, head of urban design
30 YEAR ANNIVERSARY LET US CELEBRATE WITH ’EM! Peak Performance and streetwear today team up to celebrate a birthday. So yes we are proud to partner up with this innovative brand to support their ongoing mission to spot the next. In fact, Peak Performance is ready to turn 30 years young and therefore present its most progressive collection to date. It is somehow about honoring the rich heritage but rather more to look ahead and continue to design innovative clothing pieces. Staged in a futuristic setting this collection consists of mainly matt black jackets, knits, sweater and pants. They feature some cool technical gadgets and their well-shaped silhouettes slightly remind on a ninja style. All this combines a modern skiwear approach and future streetwear looks in a clever, yet authentic way. Thus, this collection is meant to work for the ever-changing weather conditions on urban grounds and in the mountains—make it your everyday companion.
»30 YEARS WITH PEAK PERFORMANCE HAVE ROCKETED BY. AND WHEN WE DEFY OUR OWN NATURE BY LOOKING BACK OVER OUR SHOULDER, WE REALIZE JUST HOW INCREDIBLY FAST THE TIME HAS GONE BY. YES, TIME GOES FAST WHEN YOU’RE HAVING SO MUCH FUN. BUT IT STILL FEELS LIKE YESTERDAY WHEN THE INITIAL IDEA CAME TO US. THAT’S WHEN WE DECIDED TO REWRITE THE MAP ON SKIWEAR. LIKE IT WAS ONLY YESTERDAY THAT WE STOOD AT OUR DRAWING TABLE IN ÅRE DESIGNING A DREAM THAT WAS ABOUT TO COME TRUE. FROM WHERE WE’RE SITTING, VERY LITTLE HAS REALLY CHANGED. OK, THE STRUCTURE HAS CHANGED AND A NEW PROFESSIONAL BUSINESS SYSTEM HAS BEEN INTRODUCED, NEW PEOPLE ARE IN PLACE AND TECHNOLOGY HAS CONTINUED TO DEVELOP. PEAK PERFORMANCE HAS GONE FROM BEING A GARAGE-SIZE COMPANY TO A MARKET-LEADING BRAND. BUT OUR FOUNDATION IS THE SAME. —OUR LOVE OF SPORTS AND OF NATURE. THERE’S NOT A LOT TO CHANGE THERE. —IN FACT, NOTHING AT ALL. OUR EYES ARE SET ON THE FUTURE.“
The global launch of the 30-year anniversary collection is announced for the 24. November 2016. Celebrations in Germany are planned as follows.
29. November 2016 @ Peak Performance Store Cologne with supporting enthusiasm by Streetwear Today 1.12.2016 @ Keller Sports Store München
24.11.2016 @ Volutions Store Berlin 30-Year Anniversary Event 29. November 2016 @ Peak Performance Store, Cologne with supporting enthusiasm by Streetwear Today (logo einbauen)
Celebrate with us â€” details see story!
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Sandqvist × Hasselblad:
ORIGINAL NORDIC SPIRIT IN DESIGN AND FUNC TIONALIT Y Sandqvist was founded in Stockholm in 2004. Hasselblad has a longer tradition since they have been founded already in 1941 , but also in Sweden, more precise in Gothenburg. Obviously the brands match perfectly due to their mutual roots, but also due to their collective approach in timeless design and aesthetics. This partnership utilizes the strengths and expertise of each brand in a stylish manner. What came out is a minimalist yet functional line that consists of three high quality bags created by Hasselblad and Sandqvist, made to escape into the wild but keep your camera equipment safe and in place. These beauties will be available at both companies retail facilities soon. WWW.SANDQVIST.NET WWW.HASSELBLAD.COM
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AN ORIGINAL STRIKES A NEW PATH It is about a classic Redwing Boot with its iconic Moc Toe silhouette. Combining the finest leathers and quality materials with uncompromising craftsmanship the Redwing Brand keeps their heritage alive but updates it now with the Mossy Oak® camouflage pattern. The featured autumn leaves design refers to and is the consequent homage to the forest floors of the brand’s home in southern Minnesota. This Redwing boot with the code 8884 stays true to the original and features the typical 6 -inch triple-stitched leather upper, Traction Tred rubber outsole, the Goodyear welt construction and gets us ready for the autumnal times. WWW.REDWINGSHOES.COM
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Dr. Martens #standforsomething
WITH DM’S LITE In the past, counter/youth cultures like mods, punks, rudeboys and skaters (Matt Hensley!) wore them with pride. In the present, freethinking individuals and fans forever wear them. Dr. Martens future? Looks bright and light! Due to the latest upgrade of the cult shoe: the DM’s Lite. The comfort and durability of a Dr. Martens is legendary, but by adding the ultra-lightweight Phylon midsole, it has become state of the shoe art.
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Photo by: Roland Haschka, Sölden 2016
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ORIGINAL UPDATE This feature is about the innovational eye protection of the iconic Oakley Brand. Named after the Dog of founder James Jannard, Oakley stands for a wide range of functional eye wear for sports and streets. Too many athletes to name here charm the advantages of wearing their shady styles. We take a closer look to one of their newest inventions—the »WindJacket 2.0 «. Obviously it refers to the historic »eyeshade« aesthetic, one of James’s first inventions more than 30 years ago. The eyeshade was the first mix out of sunglasses and goggles. A single-lens design was taken from the goggles to create these new shades. Genially they came along with the Unobtainium technology, guaranteeing a secure fit. The lenses were made from an optically pure synthetic material called Plutonite that was lightweight, boasted stout impact resistance, and filtered out 100% of all UV. The glasses became must-have equipment for many athletes cementing the Eyeshade style as an icon of sport sunglasses but even matched the b-boy style in New York.
the original Oakley Eyeshade
sketch for Oakley WindJacket 2.0
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Today the good people at the Oakley Brand still rely on these materials. The style and outfit gets an update by their talented designers. The WindJacket 2.0 is designed to be worn on and off the mountain again, still combining the best ingredients of purpose and style. Enhancing it with the necessary snow riding features, including wind protection, helmet compatibility, this new role model unites original style and the outstanding Prizm lens technology to keep up with every adventure. The WindJacket 2.0 features Prizm lens technology? Reason enough to dive a little deeper into this technology. Everybody knows the problem of misinterpretation of hills and trails while riding an extreme sport vehicle. Mainly contrasts are missing when the light is not clearly available. If the sun shines bright sometimes it is even too bright for your eyes. Prizm stands up to these problems with a revolutionary lens technology that dramatically enhances contrast and visibility over a wide range of light conditions. Built on decades of color science research these lenses fine-tune your vision while it is on you to perform greatly. »See what you’ve been missing!«—is one of Oakley’s shout outs
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Oakley WindJacket 2.0 color variations
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NIKELAB & STONE ISLAND
Nike’s first foray into athletic outerwear debuted in 1979 with their all time classic, the Nike »Windrunner« jacket. It is an original piece that features a timeless design and fulfills the basic needs of a runner’s jacket. Lightweight protection against the elements, designed in harmony within form and function launched frequently in fresh color combinations. Just three years later, in 1982, Stone Island was founded in Italy. Defined by a similar drive to innovation they experiment with material and textile norms, by pairing military and workwear inspirations with innovative fabric treatments and
dying techniques. The result: technical jackets for everyday life. The companies’ individual and original expertise comes together in the NikeLab x Stone Island Windrunner. The second installment of an ongoing collaboration, the garment showcases Nike and Stone Island’s shared interest in innovation at the same time it evidences a new reality: The combined insights of the craftsman, the artist, the engineer and the manufacturer, previously a very rare combination, is the key to evolution. Run against the wind! L I N E S — 23 —
WWW.ELEMENTBRAND.COM WWW.GRIFFIN-STUDIO.COM #BLACKSKYPROJECT
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ELEMENT & GRIFFIN STUDIO
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THE BLACK SKY PROJEC T
It is again about two brands that join forces to level up their gear, to support each other in the product creation to develop something outstanding, something new. Here we talk about the Element Brand and Griffin Studio that have worked closely on an exclusive capsule collection named »the Black Sky Project«. We all should know what the Element brand is all about. And Griffin is a British original renowned for high quality finishes, craftsmanship, its special creative flair mixed with superb manufacturing skills. Griffin designs with fresh ideas and mixes up sportswear, high fashion and military influences. For this remarkable project it all starts with an emphasis on fabrics and ergonomics. Outdoor utilitarian design elements meet urban versatility in a minimalistic aesthetic that is based on the »Authen tech« technology featuring qualities as a semi-permeable membrane, a special lamination or an internal insulation system. The designers created 4 new key technical jackets, hats, and pinnacle bags alongside reinterpretations of classic backpack and footwear styles. The highlight of the collection is the Black Sky Sleeping Bag Coat—a heavy padded down coat with a zipped sleeping bag. Leave a trail!
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BARBOUR & TRIUMPH
TAKE A RIDE This one is about motorcycling in style. And I am sure you all are aware of both Brands: Barbour international and Triumph motorcycles. And yes, it is about heritage, tradition and style, innovation for decades. Both brands share this passion to ride out in style. The one is delivering the right garments and the other one the bike you need. And this collaboration is about the Triumph Thruxton motorcycle, first launched in 2004, providing the story for this season’s Barbour International x Triumph collection. This iconic bike, was named after Thruxton Circuit, a racetrack where in 1969, Triumph won the top three places in the Thruxton 500 mile endurance race. These were the same races that established the »café racer« era where standard production motorcycles were modified to improve street and racing performance. Several Jackets, Sweatshirts, button down shirts and T-shirts honor the heritage of both brands and guides them into the future. Manly with a simple color palette of black and grey, the collection features washed and distressed wax jackets with a lived in authentic look. Signature red quilt linings are used throughout. Knits are chunky and rugged and premium tees are washed and bleached and carry proper designs. Genuine and original, this is a collection for biker aficionados who take their rides serious.
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THE DICKIES »67 COLLEC TION« AN ORIGINAL REINFORCED FOR SKATEBOARDING
DICKIES FINDS ITSELF IN THE COMFORTABLE POSITION OF BEING THE ASSOCIATED AND FIRST CHOICE FOR MEMBERS OF SEVERAL STREET CULTURES. TODAY WE TAKE A BRIEF INSIGHT THE »67 COLLECTION« CONSIDERED THE SKATEBOARDING WEAPON OF DICKIES TOGETHER WITH KEVIN PENNY. IT'S IMPRESSING TO SEE, HOW THE SKATEBOARDING CULTURE FOUND ITS WAY TO THE ORIGINAL O-DOG, WHICH WAS THE BLUEPRINT FOR ALL THAT FOLLOWED UNTIL THESE DAYS.
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Hey, what’s up? Please give us a short introduction of yourself. Hi, I’m Kev and I’m the Dickies Life Marketing Manager. I look after the marketing activities and material for Dickies Life in Europe.
In which way are the Dickies products modified for the Skateboarding collection? The biggest difference is the stretch in the fabric, but additional features like re-in forced seams are also a key feature.
How long is the history of Dickies being considered within Skateboarding culture? Dickies has been part of Skateboarding culture since the late 70’s where it was adopted by skaters in California due to its hard wearing and excellent value qualities.
Which products does the Skateboarding line carry currently? We have found that the industrial Work pant has really resonated with the Skaters for its classic look but with performance originated updates.
Dickies Chino pants 874 (O-dog) have been for quite some decades the choice when it comes to the attitude of rough Street and Concrete Skating. So it’s a quite comfortable situation having Skateboarding approaching Dickies, not the other way round. Indeed, its great to be a brand of choice rather than trying to buy our way into something. Its not an ethic we hold with at Dickies, it always needs to be an organic relationship. That is at the core what Dickies Life is all about, it’s about people’s lifestyles and culture and that they chose us for our true values.
How do you want the brand to be recognized? As it is: Authentic American Workwear brand—A brand that’s classic and fit for purpose with no limits. The Dickies Life collection is a response for a demand; The SK8 division, 67 collection is only a part of Dickies—but like with skaters: there are many sub-cultures that chose us (not us going after them) Dickies Life adapts it’s collection to satisfy their evolved expectations on Dickies.
Words and interview by: Joachim Offenbacher Images by: Dickies
What made you decide to establish a Skateboarding dept. and line? When did it take place? Dickies realized that the skate world loved the style and hardwearing properties of the 874 and 873 but required more movement. Listening to our US skate team we reengineered the products in to a new line the »67 collection« (Dickies skate collection). Reference to 1967 year when the classic 874 pant was created and directly adopted by skaters. The 874 is Dickies Classic and #1 pant—selling more then 12 million pairs per year. Total sales in workwear, in lifestyle and still with-in skaters. There seems to be an intesification of marketing activities. Please just give us some short impressions. Dickies realised that the skate world was going back to basics and true values. They loved the style and hardwearing properties of the 874 and 873 but required more movement. Listening to our US skate team members, we re-engineered the products in to a new line: the 67 collection. Dickies Classic styles with stretch and other classic styles adapted to todays expectations. Who’s on the Skateboarding team? The current US Skate Team is: Vincent Alvarez, Ronnie Sandoval, Peter Hewitt, Adrian Adrid, Jake Johnson, Jake Hayes—Australian
Give us an overview of the strategy. What has already been done and in which direction is the Dickies Skateboarding brand moving? In the US the SK8 team is going from strength to strength in the past couple of years. But for Europe we have a tight selection of supported skaters, but not an official team. Sam Beckett has of course won gold at the X games so we hope to work more with him in the future. But we will in Europe be a very core/ground level sponsor. How do ou pick your projects? What’s the main idea? We prefer the more street level projects and events. Not so much into competition but more what can reflect the lifestyle of Skate. On which events/activities do you focus? Big bang or small handpicked ones organically growing with the scene Definitely the second, we were an organic choice I guess so we like to maintain that and not turn into some big corporate sponsor. Social media. How it’s embedded within your strategy and how is the success? Again, Social Media has been a very organic movement for us. Facebook seems to be less important to people now, and more to companies. Because of that we focus more on instagram and the interest reflects that. Thanks for your time.
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VOLCOM X ANTIHERO
HITTING THE ROAD WITH THE STONE AND THE EAGLE The best way for brands to ensure that a collab gets a success story is to involve well selected team members of both sides who are recognized in the scene and ask and design a portfolio of products according their needs. So far from this point of view, Volcom x Antihero did everything right to set the best requirements to underline their commitment and love for Skateboarding. Both brands fit together quite well while representing the image of rough Skate adventures mixed with endless road trips. Inspired by professional Skateboarders Grant Taylor, Chris Pfanner and Daan Van der Linden, the shared vision was clear: apparel and accessories for longlasting abuse with understatement details and concept of style. The results could be discovered in the shelves of Skateboarding shops worldwide containing tops like flannels, hooded sweatshirts, jackets, short and long sleeve T’s besides twill pants and a range of accessories like camp chair and different styles of headwear. First drop to be started in late summer 2016 , to be continued… See you on the road. Words by Jo Offenbacher
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Classic items in a recent collection, photographed by Michael Elijah, 2015.
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WORK IN PROGRESS:
THE C ARHARTT WIP ARCHIVES
I remember the time; these eighties—when things started for me. Punks, skinheads, teds, skaters … and the Hip Hop movement, they all blazed a trail into the fashion world. Still diverse, individual and creative the crews, gangs, posses, homies or brothas loved their uniform, their personal expression of style to stroll the streets. One big thing was durability, clothes needed to withstand mad conditions; they needed to serve the purpose. Basic, but real. Workwear was a perfect match for a lot of youth cultures anyway and actually it was affordability next to durability that made it a hit. It was well combined with the beloved denims but also was meant as an antidote to them. The down to earth tonality was matching the army gear. It was also a bit more gangsta than bling bling in Hip Hop. The appearance in these scenes called attention. Soon after, through its cooperation with the European distributor Work in Progress, the American workwear classic would spawn Carhartt WIP.
»Work in Progress: The Carhartt Wip Archives« Hardcover, 428 pages, Two cover versions:black and white (international) and orange (US). Available inCarhartt WIP stores and selected bookshops from November 4 th.
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Shyheim, an affiliate of the Wu-Tang Clan, photographed by Xavier De Nauw, mid-90s.
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Graphic for the opening of Carhartt WIP’s Osaka store, designed by Tim Kottmann, 2016.
Founded in Europe in 1989, 100 years after Hamilton Carhartt established his business in Detroit, Michigan, Carhartt WIP has been thoughtfully adapting and modifying Carhartt’s core product characteristics for a different clientele who value the refined designs, shapes and materials while remaining true to Carhartt’s brand origins. Carhartt WIP was breathing new life into the Brand while targeting and supporting the streetwear scenes.
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Carhartt WIP’s Hooded Windbreaker, photographed by Mario Testino (left) and Mert Dürümoglu, 1999.
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Alexis Desolneux, photographed by Manu Sanz, 2000.
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Vinatge advertising, Carhartt’s archives.
Youths in Detroit, photographed by Gemma Booth, 2000.
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Hugo Liard, photographed by Alexander Basile, 2001.
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Sketch for the patented Bib Overall and a portrait of Hamilton Carhartt.
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Early Carhartt WIP Catalogues, photograph by Joachim Gern.
Carhartt WIP × A.P.C., poster designed by Jean Touitou, 2013.
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S Danny Brown in one of his custom T WCarhartt WIP stage outfits, photo2graphed by FotoSchiko, 2014. D
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Evan Hecox drawing, that has been part of Carhartt WIP’s first illustration campaign, 1999.
»Work in Progress: The Carhartt Wip Archives« is the first comprehensive publication exploring the brand’s remarkable evolution. It reflects and states their leading role in streetwear and its culture. It is homage to all the artists, bmx riders, skaters, painters, musicians, important protagonists or collaborators who helped shaping the Brand.
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Pontus Alv with the second issue of Carhartt WIP’s Rugged, photographed by Taxi Marcus, 2003.
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Edited by Michel Lebugle and Anna Sinofzik, with texts by Gary Warnett, Mark Kessler and Anna Sinofzik, it features more than 350 images of unpublished photographs, artworks, as well as memorabilia drawn from the company’s own archives and different private collections, providing an unparalleled look into Carhartt WIP’s universe. Published by Rizzoli with different cover versions for its US-American and international distribution, the book will be available at selected bookshops worldwide and arrive at Carhartt WIP stores on the 4th of November. To celebrate its arrival, Carhartt WIP will host an exclusive event and one-day-only exhibition in Berlin. WWW.CARHARTT-WIP.COM @CARHARTTWIP
Illegal, Redman, Treach (Naughty by Nature), photographed by Ernie Paniccioli, 1993. — 47 —
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BUILT BY SKATEBOARDING…
AND STILL SKATER OWNED AND OPERATED A voyage through the Sole Technology world with Pierre-André Senizergues and Don Brown. If you are within the Skateboarding circus for the past three decades you have proven that you will stay. Sole Tech as the parent company that hosts the brands Emerica, etnies, éS, Altamont and ThirtyTwo has an experience dealing with different customer groups and brand images. How to steer such a big ship in order to keep each brand move in the right direction might be the right topic. Thanks to Pierre-André and Don who took their time to chat with us about the brands and Sole Tech itself from different angles.
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PIERRE ANDRE Hey Pierre, thanks for making it happen. How are you? Good thank you! Please give us a short overview of Soletech today, how it all started out and had grown through the decades. I grew up in Paris skating and moved to the USA in 1985. I’m so stoked I got to travel the world and meet so many amazing people and experience so much. In 1989, skateboarding had peaked and by 1990, the industry imploded. Out of the mayhem, came the new skater-owned movement. I got the chance to build etnies and have it be the first skater-owned footwear company in the world. Being a freestyler skater shoes are really important for board feel and durability. I knew I could make a better shoe than what was available for the skateboarders of the world and that is what I set out to do. Throughout the early 90’s, etnies became the #1 choice for skateboarders around the world we had pretty much every one of the best skateboarders in the world riding etnies. As we grew, I felt there was an opportunity to create another brand that was more athletically inspired - more sophisticated, and with the best skate team ever so I created éS. At this time I also loved to snowboard and the boots that were available didn’t feel right so I created the snowboard boot brand ThirtyTwo. I’m proud that today, ThirtyTwo is the #1 core snowboard boot in the world! In 1996 , we felt the need for a more raw core footwear brand so we created Emerica. Altamont Apparel I created to provide a truly expression of the skate, music and art culture that we all connect with. In 1997 , we created Sole Technology to house all of the brands…
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1. etnies always driven by skate, was the action sports brand with surf, snow, BMX and MX . We were the first brand to really expand outside of skate and in to these other categories 2. éS is Athletically inspired and infused with technical innovation and sophistication 3. Emerica is the 100% raw skate footwear brand. Leans more from a fashion side on rock ’n’ roll 4. Altamont the platform for creative expression in skate, art and music culture. It is really an art brand for the DYI- inspired generation.
What have been the motivations to add several brands to the original setup of Etnies? The beauty of skateboarding is that there are so many different segments and categories. Creating brands that are relevant to these categories helps to solidify brand strategy, purpose and direction. 5 words that describe Soletech the best? Passionate, Creative, Caring, Authentic, Skateboarding How do you want the five brands to be recognized in the market? It’s amazing as we see so many people send us photos of our brands tattoos on their bodies. That’s an incredible lifetime commitment and belief in what we are doing and pushes me harder to make sure we keep them proud. I’m not saying that I want everyone to get a brand tattoo, but at the end of the end, I want people to connect with the love and passion that we put into what we’re doing. We do what we do because we want people to feel better, skate better, and look pretty damn good in the process! Social Media with its 24/7 presence and the immense volume of information combined with their frequency of renewal. Pros and cons? Social media is amazing, as we’ve never had the opportunity for at-once connectivity on such a large scale with our fans and retailers. It’s really great to get feedback on what we are doing and also for us to be able to ask fans what they think. I always get stoked seeing people that have bought our products to and posting them with so much excitement. Thanks to everyone out there who tags us on his or her posts. We see everyone! I don’t see too many cons others than on a personal level, it can be very time consuming. But, with that said, it’s rewarding to be so in touch with everything happening around the world! Is there a differentiation of social media and www presence for the several brands? We have a different crew activating each of the brands, so the individual brand voice is consistent. Marketing is an eco system of connectivity so whenever we post on
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the website, we’ll promote on our social media and we’ll have it visible on all other market touch points. Consistency, relevance, realness, and engagement are crucial. What drives the sales and growth of a Skateboarding brand? The riders and public persons or the products? It’s a combination of everything and not just one thing. Having a great product with beautiful design, function and style is crucial. Our riders then reinforce the message by posting the products with them in action taking things to the next level. Then our retailers around the world present and post that they have the products and we start to connect on a regional level. As mentioned, authenticity and realness is crucial in today’s world, people don’t like perfect studio shots and advertising copy in their face. We often find that a great phone photo of a product being held by a rider in their environment gets much more attention than a studio shot. What makes Etnies, Emerica, Es and Altamont unique in the market? We pioneered the skate-owned movement in skate shoes. What we do comes from the heart, from the foundation of love that we have for skateboarding and the skate community. On a product level, we have 30 years of experience in making skate shoes, I’d consider ourselves experts and make the best skate shoes available.
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How do you prepare the several brands for the future? We’ve been doing this for so many years now, we get to see the how the trends cycles happen. For example we predicted the 90’s trend coming a while back, so we brought back our top heritage styles such as the éS Accel, Emerica Indicator, and the etnies Scam. All these shoes have been selling out everywhere! From your perspective: In which direction is the whole Skateboarding ship sailing, business wise and culture wise? Skateboarding is getting more and more attention from the mainstream. Did you see the how Vogue.com has been promoting skateboarding for the last few months?! Who would have ever expected that? A friend of mine was a moderator for a panel interview with top skateboarders talking about skate fashion 90% of the audience that paid to be there were from the fashion industry as they are seeing how influential skateboarding is to their world right now. Then add the hype of Street League, X Games, Dew Tour that are reaching millions of people around the world. There’s the Olympic hype where skateboarding will be in Tokyo 2020. There are skateparks popping up everywhere; girls are ripping harder than some of the guys, kids as young as 3 are sitting 5 stairs! There’s so much energy out there it’s an amazing time for skateboarding.
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What can customers and Skate enthusiasts expect from the Soletech brands within the next 6-12 months? That’s top secret! Spring 17 we have the most amazing collections we’ve ever had. Make sure you stayed tuned to our websites and social media channels to see what’s coming… seriously amazing! You are one of the last Skater owned and operated companies. What does Skateboarding mean for you personally and how important is this aspect for the business strategy of Soletech? Skateboarding is very special to me. It’s basically created who and what I am. Being one of the last skater-owned footwear companies, it makes me want to fight even harder to keep the dream alive. We have a big responsibility to keep the true spirit of skateboarding alive and to be mentors to skaters around the world to start their own companies. We can’t let mass market corporations take over our world. Our global skate community is more than just a demographic on a spreadsheet. Retail vs. online. Advantages and risks? A combination of both? Is retail necessary? We’ve grown up with our skate retail partners. These guys are all close friends and like family. The biggest change right now though is that the retail dynamics are
rapidly changing and we all need to cater closely to the consumers needs. The majority of them spend their life in front of a monitor where viewing and buying online seamlessly is becoming more and more common. We do sell our brands online direct to consumers, but we try our best to have skaters around the world support their local skate shops. These shops represent the voice of the skate community; they help to support and keep the scene going: sponsoring kids, building skate spots and fighting for a local skate park. Without a local skate shop the skate community will have a big void that will not be good for the long-term health of the skate community. How can growth of the scene and the group of customers go hand in hand? A scene isn’t created out of thin air. It’s up to us all to make things happen to bring people together and create energy. Growing up skating in Paris, I’d always get everyone together for contests and road trips, to bring everyone together. That’s why Sole Technology has always focused on this with events like the Emerica Wild in the streets, éS Game of SKATE, etnies Goofy vs. Regular and many more. We always promote empowering the skaters of the world to create their own events, build DIY spots and make stuff happen for the community. Get out there and make it happen! B R A N D — 53 —
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How do you honor and maintain the roots? We always stick to our beliefs and values and never forget the people that got us to where we are today. We have so many long terms employees at Sole Technology that we can communicate the unique stories throughout the company. How important is the support of local scenes? Local scenes are crucial and the skeleton of the skateboard community. We see a lot of small crews around the world that make a big impact on the over all scene. I’m a big fan of the Majer crew in Texas… they’re always so creative and have so much fun! Which activities do you initialize to give something back to the Skateboarding culture? Through the 30 years we’ve been around, we are big believers in grassroots events as mentioned before. We constantly have éS Games of SKATE with retailers around the world to bring everyone together and drive traffic to local skate shops. We have art shows with
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Altamont, support Ryan Sheckler’s »Skate for a Cause.« We’re constantly helping others put their events together and showing support. Not to mention, we give back as part of who we are—I really believe we create a life by what we give. A few other things that we do that reflect how we help reinforce a culture of giving is that we have planted over a million trees in the rainforest (and counting) to help reduce our footprint on the planet— we need the earth to be healthy to do what we love to do. We give shoes to the homeless each year, because as skaters, we interact with them daily as we skate. We continually support the etnies Skatepark in Lake Forest because it’s where we are located and we want to support our local community skate scene and help create a thriving skate community for thousands of kids to experience. Skateboarding and the Olympics. Some thoughts… Who would have ever thought skateboarding would be in the Olympics?! It will be great to see the IOC invest
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into helping skateboarding around the world. I also feel it will be great for women’s skateboarding as they will have 50% of the attention for the first time ever. I’m sure this will create a whole other generation of skateboarders to take things to the next level. I’m looking forward to see what happens. Why should a customers purchase the new Emerica Provider shoe? Wait until you see Emerica Made 2 and everything will make sense! Best selling shoe ever and currently? Where do you see the reasons out of your perspective? Your favorite? - éS Accel (first éS shoes I designed back in the 95” ) still stoked by the great board feel, style and durability. - Emerica Reynolds—love that style and great board feel. - etnies Marana—so durable Thanks for your time
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Hey Don, how are you? Let’s start with some quick ones: A good day starts with … strong coffee End every day with … strong beer A good day in my eyes … shows progress A day in the life of Don… 3 year old daughter jumping on my head, email/social media check, office for meetings, freestyle tricks with Pierre in the conference room, skate on the 405 freeway home, 3 year old daughter jumping on my head. What made you start back in the days? 40 years ago a piece of wood on 4 wheels became a catalyst in my life for a journey of adventure, experiences, and life learning. Growing up in the UK I never imagined where my love for skateboarding would take me. Evolving my passion of skateboarding into working with my best friend, Pierre Andre Senizegues, to help build the best skate footwear brands in the world was never something I had thought of. Skateboarding taught me that if you follow your passion, what ever it is, you’ll attract the right energy to move you forward in the right direction. In which direction is the whole Skateboarding ship sailing from your perspective, culture and business wise? The reason I’ll always love skateboarding is because it’s constantly moving, evolving, and challenging itself. It hates to be stagnant. From the 60’s until today each decade and each generation has redefined what skateboarding means and pushed it to the next level. Right now, skateboarding in my eyes is more exciting than ever, and it’s challenging all past generations and progressing faster than ever before. Skateboarding shoe and apparel market. Present and future. Mainstream Athletic brands have definitely bought their way into the industry but interestingly we are seeing that their business is declining in many stores. It’s an exciting time right now as the market is moving so fast… it’s open game for any brand no matter how big or small you are… all past rules of how to succeed are out the window! I feel there will be an influx of new brands coming into skateboarding to break up the older complacent brands. The future is looking good! Which customer groups you have and which brands fit to them? Emerica is for the raw, rebellious, 100% skateboarder; éS is sophisticated city based skateboarder; Etnies is built by skateboarding and connects to the action sports youth market. Altamont apparel brings together the culture of skate, art, and music all together. The Skateboarder as a customer: What clusters of people do you identify these days? How do you try to bind them on the brands and get their loyalty over the years? Skateboarding is more diverse than ever. You still have a style that follow the rocker style (Emerica/Altamont), the clean athletic/street look (éS) and everything in between (etnies)
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Do kids try to copy their stars or do they look for a stylish product? How important are key personalities like pros for the success of a brand and the product? We’ve definitely found that there are clusters of certain looks… more often than not the Emerica fan also likes Baker, Deathwish, and Anti Hero supporters and éS fans support brands such as Diamond, Primitive, and athletic brands etnies has the Plan B, Element, Welcome type consumer. Our riders definitely influence kids around the world on how they look the same as always. How do you ensure to set each brand in the accurate position to be recognized in the market? We make sure we align each brands with riders, brands, and retailers that represent the brand values, vibe and look. You also added apparel lines to the Shoe brands. What was the motivation? How does Altamont fit in the whole approach? There weren’t a lot of legit skate apparel brands when we first started. As skaters we always made the apparel to represent what we want. As the brands grew we could match the apparel to match the style of the team riders and everything grew from there. Altamont is driven by a lot of really solid collaborations that connect skate, art and music culture. Working with people and names like Andrew Reynolds, GG Allin, Daniel Johnston, Sub Pop records makes Altamont so different and unique from all other apparel brands.
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How do you want Altamont to be recognized by the customers? How do you steer and influence this view? Altamont is the real deal it lives the life of skating, making music and being creative. Altamont is cut from a different cloth and will always leave an ever-lasting impression on everyone. Preparation of the brands for the future. Pierre and I have lived our whole lives with a passion for skateboarding and the skate community. We’ll keep doing what ever we can to keep the true spirit of skateboarding alive. We’ll be the authentic alternative to the mainstream corporations that have homogenizing the skate culture. Emerica made part two is coming up. Give us some words concerning the concept and the marketing approach online vs. DVD 110% fucking raw skateboarding with the best skateboarders in the world! We’ll have both versions available on DVD and iTunes to cover all spectrums.
What lasts longer concerning customer long-term binding/loyalty: full-length or continuous presence in the format of 2-10 minutes parts? The world we live in today is about micro-moments… quick flashes of inspiration and connection. There’s still room for full length movies but the world we live in today is one continuous movie about the brand story. Involvement of social media. How important is this marketing channel? How to do it right? It’s all about the brand being real… you have to empower the whole brand team to be who they are, and live what we all preach. The big thing for social media is that it’s a 2-way communication; our goal is to interact with our brand fans. For éS we have the highest ratio of interaction in the industry with our fans… test us out @eSskateboarding Combination of social media and presence activities like contests or other events. With Social media you have to think about how to create
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reasons for the community to post or interact. Everyone has a phone in his or her pocket and everyone is looking for the ultimate thing to post of comment on. Events are a great way to create this authentic interaction and have the community promote what we are all about. Confrontation of Skateboarding culture with the rules of the Olympics. Your personal opinion on that. Wow… That’s a big subject. We all grew up loving skateboarding because it was rebellious and anti-mainstream —we were considered the outcasts, the punks the degenerates. 1999 Tony hawk does a 900 and the whole world is suddenly looking at how cool skateboarding is. As skateboarding has become integrated into mainstream culture it was obvious that organizations such as the IOC would be looking at our world saying »We need to capture the teen demographic or the future is not going to be looking good«. Our challenge as an industry, is that skateboarding whether we like it or not, will be going into the Olympics. So, what the key concern for us was to make sure that assc that represented skateboarding is built by skateboarders and truly understands the skateboarders needs and how skateboarding should be presented to the masses. The ISF (International Skate Federation) is one of the key organizations that we backed due to their collective experience in skateboarding; they will be one of the main organizations representing skateboarding in Tokyo 2020. What I love about skateboarding is that it always is moving and evolving—it never stays still. Will be great to see how it all unrolls. How could a positive scenario look like from a marketing perspective? The Olympics will create segments in skateboarding where you’ll have the raw street skater and athlete skateboarder… we’ll also have more parks, training facilities and overall investment into the skate. I’m sure shits going to get weird but real skateboarders and brands like etnies, Emerica, éS and Altamont will be there keeping the true spirit alive! Nice! I should skate the Emerica Indicator because of… … people will see you as a real skateboarder that supports skater owned brands (plus you’ll probably get laid tonight… hahaha)… oh, I forgot they skate really damn well and last forever! Best selling shoe ever and currently? Where do you see the reasons out of your perspective? Your favorite? Hard to say… so many great shoes. Etnies Calicut and Jameson; Emerica Laced and Reynolds. éS ACCEL and Koston 1. All these shoes were staples and timeless functional classics that many are still killing it! My favorite is the Koston 1 as I designed most of that shoe and is one of the most demanded shoes today! Thanks for your time!
Interviews by Joachim Offenbacher Images by Soletechnology
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EMERICA: MADE CHAPTER TWO
MADE FOR SKATEBOARDING It’s wasn’t easy to continue the history of Made part one three years ago which left the parts from Leabres, Provost, Romero and Westgate in the memories of the Skateboarding world. With premieres all over the world in the last weeks, Emerica released chapter two on the 4th of October 2016 on DVD and iTunes. The appearance of Reynolds, Hsu, Herman, Spanky and Figgy makes it a worthy successor and one of the most expected videos of the year 2016. To be continued… EMERICA.COM
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WWW.SOLETECHNOLOGY.COM WWW.ESSKATEBOARDING.COM WWW.EMERICA.COM WWW.ETNIES.COM WWW.ALTAMONTAPPAREL.COM WWW.THIRTYTWO.COM @PAS_SKATE @DON_BROWN @ESSKATEBOARDING @EMERICA @ETNIES @ALTAMONTAPPAREL @THIRTYTWO
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IT’S ALL ABOUT SEX …
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New Brands pop up here and there and only some of them make it to get the right attention. But the simple explanation »Sex sells…« is wrong in this case. It is more about the intelligent use of the word Sex. Sex Skateboards from UK. We had a chat with Founder Louis Slater.
Hey Louis, we have been following Sex Skateboards for a few months now. We like it! As we understand things, you are making some strong moves with Sex. Where did the idea come from to create a skateboard brand called Sex? Tell me a bit about you and how it started. I was fucking about in me warehouse one day and had some old t-shirts laying around so I spray painted the sex logo on them, not even thinking about a brand or anything. I posted it on Instagram then it turned into a company after that. I didn’t set out to start a brand, it just happened. What about the name? It’s bold, and we love the different edge the aesthetic brings to skating, which can sometimes be oddly hyper-macho. Yeah the word sex is great. Life begins with sex and ends with death. Lets talk about your Art, we can see you do a lot of paintings on canvas and magazines, tell us more about it? Yeah I have painted for a long time, I love it, its what I do. Sex is based on art, art is everything. Kunst rules!
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The range is a lot broader than the average Skate brand’s product drop—where did the ambition come from to go beyond hoodies and tees? I look at all the big brands like Moschino, Gucci ’n’ shit, so I guess that’s my ambition to strive towards. Do you do all the designs yourself, or with a tight team? I do the artwork, I sketch the ideas down on paper, then I have a team of OG ’s that make it into reality, I don’t fuck about on Photoshop and shit so the new gear is a combined effort of a few heads. Any pieces in particular that really stands out for you? Yeah I really like the Instagram t-shirts cuz there’re real people in the original gear and now they are on the tees, that’s cool. What about your 9” deck, with the more angular nose and tail where do you have them made? We have a selection of sizes in it; I print the boards myself in Sheffield. I like to customize & hand paint some of them as well so its like a piece of art. Anyway what’s your skating like? I skate yeah Where are you guys based? And any favorite spots
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I’m based in Sheffield, we don’t really have an office, I work out of my studio, and we all work remotely. I don’t have a favorite spot now, just a car park with some curbs and shit will do me. Do you have any collaborations coming up, we can see from your Instagram that you have large following of ladies, I see you make women’s panties? Yeah chicks like it! We have developed a new underwear collection especially for them and we have been working on few bits and pieces with some companies we like… I can’t talk about all the shit we are up to going forward into next year, just check the insta for announcements. What’s next for Sex? Going global? We already are, we’re only working with a very select number of stores around the world and our own website of course. I like seeing people in Sex gear in countries I’ve never been to. We also have plans to open a few pop up shops here and there in 2017. Thanks Louis, we are looking forward to seeing more of Sex Skateboards in the near future. Bless ya! WWW.SEXSKATEBOARDS.COM @SEXSKATEBOARDS
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Louis Slater founder of SEX SKATEBOARDS
PHOTOGRAPHY – Lorenzo Dalbosco PHOTOGRAPHER ASSISTANT – Ai Nakai STYLING – Gary Armstrong MODEL – Elliott @Wilhelmina & Chen Xue
GROOMING – Takuya Uchiyama
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SLAM CITY SKATES
CULTURE MADE AND PRESERVED IN LONDON
Shot by Robert Walton
Dave Atkinson, Slam City Skates London
DRIVING FORCE OF THE SKATEBOARDING CULTURE SINCE DAY ON AND KNOWN FOR A HUGE SET OF COLLABORATIONS OVER THE YEARS. NEARLY EVERY RECOGNIZED SKATEBOARDING BRAND TEAMED UP WITH THE NICE FOLKS FROM SLAM CITY. LISTEN TO THE WORDS OF JACOB SAWYER WHAT HE LIKES THE MOST AT SLAM CITY AND HOW HE SEES THE FUTURE ON RETAIL …BESIDES OTHERS.
What made you guys start back in the days and where are we know? Who’s involved? Paul Sunman started Slam City Skates through the record shop Rough Trade on Talbot Road in 1986. Rough Trade used to sell issues of Thrasher behind the counter—there was an important link between punk rock and skateboarding at that time but it was very hard to get proper US skateboards so Slam City was born in the basement. In 1988 Slam moved to Neal’s Yard in Covent Garden except this time on the ground level with Rough Trade in the basement. Currently Slam is owned by Gareth Skewis and Marshall Taylor and we have 2 stores, one located in Covent Garden, now on Endell Street and another one at the top of Brick Lane. 5 points that describe Slam City Skates the best. Skateboarding, Mates, Creativity, The Pub, Skateboarding
What’s your contribution to preserve and advance the Skateboarding culture? We support a large team of skateboarders and always have, this means grip, trucks, bearings or whatever is needed when the sponsors aren’t coming through to keep these guys out there. We also have events like ›Summer in the City‹ (http://www.slamcity.com/blog/summer-in-thecity-2) which we run with Vans to encourage kids to push themselves and film street skating in London. They can win cash and get their edits screened in the cinema at House of Vans. On top of this we still are producing our own video edits showing the rest of the world London skating and bringing new riders onto the team. 3 points why people should support local Skateshops? It’s simple, if you don’t support them they will disappear —it’s already happening more and more regularly. Most
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WWW.SLAMCITY.COM @ SLAMCITYSKATES
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skateboarders want to go into a shop, see the shapes of the decks they are buying, try on shoes, ask advice. If you’re in a new city you can ask where skate spots are and find people to skate with and as always it’s a place to hang out, watch vids, talk shit and drink beer. If you value these things you need to go into your local instead of buying from the big guys online. Retail vs. online. Advantages and risks. A combination of both? Which key factors should be considered? Both are incredibly important to us but one could not work without the other. Online site’s without a genuine bricks and mortar store just don’t have the credibility that those that started out as a store have. Without this we wouldn’t be able to stock some of our brands and have the opportunities to collaborate with them like we do. However without the reach and revenue that online brings we wouldn’t be able to survive London’s rent. Deeply rooted in the Skate Scene of London, describe a bit the uniqueness of the city, the Skaters and the scene. London skaters are united by bad weather, difficult spots and over zealous security—it’s not easy to skate street in London! Obviously London is a capital of culture, art and fashion and this is reflected in its skaters—they are often more forward thinking and open minded than other skaters with extremely wide ranging interests and careers. Involvement of social media. How important? What can go wrong? How to do it right? Social media is essential to us as it’s such a direct link to sharing with our customers (@slamcityskates). Getting it right is pretty simple really - give an honest representation of yourself, we know what we know, skateboarding, product and banter, and that’s what you’re going to get from us. What do the kids of today want? In this day and age and especially in London, kids are so knowledgeable and change their interests at such a rapid pace. What we do know is they are better at spotting authenticity than ever before and can see through marketing crap. We have always strived to stay as core and authentic as possible that has helped us stay relevant to young London skaters. Do kids try to copy the stars or do they look for a stylish product without considering any brand preference? Kids are hugely brand aware at the moment and the un-authentic brands don’t last for long. They don’t copy ›the stars‹ per se, but the stars of skateboarding are very influential, in London people like Blondey McCoy & Lucien Clarke have a big impact on our younger customers. It’s guys like this they can follow on instagram, recognize where they are skating and see them in the shop so it’s far more connected to them than a regular ›star‹.
What’s on the roadmap for the upcoming six month for Slam City Skates? Also short outlook on a midterm range. We are celebrating our 30th anniversary at the moment and have released several special products and collabora tions this year. Dickies x slam city skates, Spitfire x slam city skates and a slam artist series on decks but we still have a few more very special things lined up—events, collaborations etc, we can’t give away too much yet but we are very excited about them! Why should people come by during the next stay in London? We are just a 10-minute skate over Waterloo Bridge from Southbank—after your skate come by watch some vids, grab a beer and sit outside on our benches and check out some product you’re not going to see anywhere else. When you’re done you can go next door to the best pub in London, The Cross Keys, you’ll probably see some pro’s you recognize in there. In which direction you see the Skateboarding culture moving, on one hand from business aspects and from a personal perspective? We are seeing a lot of new young skateboarders in London and more skateboarders can only be a good thing, so the future is looking bright. Interview by: Joachim Offenbacher Photos by: Maksim Kalanep www.maksimkalanep.com
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VANS HALF CAB
NOTHING BEATS THE ORIGINAL
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The Half Cab is around for decades, always refreshing itself by new colorways. It has been and still is the blueprint for nearly all shoe companies in the biz to create their own interpretation of the icon. But still to mention, the spirit and the cult status remains untouched. What started back in 1988 with the release of Steve Caballeroâ€™s first signature shoe called Caballero continued to became the most influential Skate shoe of all times with the first Half Cab release in 1992. The original high top was modified by skaters all around the globe in their own way to make it feasible for the street skating tricks of the early nineties era. Cutting it off into a mid top and putting some duct tape around on the higher end became common use or even a trend in the age of big pants and small wheels. To avoid people getting tired of cutting down the shoe, Steve and Vans decided to create a mid top version named the Half Cab. The original Caballero patch carrying a dragon logo was replaced by another
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one placing a silhouette of a shot from the former Thrasher photographer MoFo with him doing a Half Cab during a contest in Sacramento. He did it all in one: First he invented the trick, then the shoe. In 2007, a reinforced version of the original was released with the Half Cab Pro covering the contemporary needs of Skateboarders. During its 20th anniversary in 2012, Vans underlined the iconic status of having with the Half Cab one of the most important shoes in the history of Skateboarding culture. You will rarely find any other shoe model which appeared in so many colorways, that was interpreted by so many famous artists around the globe and had as much collabs with bands, companies or Skate Shops like the Half Cab. Just for the correctness, there also have been some other variants of the shoe during its evolution which we did not focus on in this article. Namaste Cab. Word by Jo Offenbacher
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THE VAULT LINE BY VANS
ALWAYS PAYING TRIBUTE TO THE ORIGINALS
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The Vault line always picks in their collections timeless models and gives them a contemporary interpretation. A bit like walking through the four seasons within the same body, but different styles of garments, always with the demand of combining high quality materials with the corresponding high level of creativity and art aspects. We chat with the man who is the creative brain behind a lot of Vault models reaching the market, warmest greetings to Taka Hayashi.
Hey Taka. How are you? What‘s hot at the moment? I’m doing great, thanks. For footwear, I see a lot of classic basic style shoes out on the streets like Vans Authentics, Slip-Ons, & Old Skools. For apparel, I’m seeing less of the menswear trend and see more of the relaxed casual 90’s style looser fit t-shirts and denim pants. For music, I’m hearing a lot of the early 90’s acid jazz coming back (Badbadnotgood, Anderson Paak, Kaytranada etc…). Please give us some insight of your daily work at Vans. What’s your contribution? My day at Vans usually consists of design meetings, going through materials, making color palates, & design work. I design Vault which consists of the classics originals line, reinvented classics, special collaborations and my signature footwear & apparel line.
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Do you travel a lot in order to get new impressions? I go on many inspiration trips abroad to keep my eyes fresh and to have new perspective on design and art. I’ve traveled to Morocco for inspiration from their rugs & leather craft, seen the latest happenings in Paris & Tokyo… There’s so much to discover and find inspiration from all over the world. Recently, I’ve travelled to Memphis and New Orleans, & that was pretty great. Where do you get your ideas from? How does Taka’s creative process looks like? Any special environment?… I get my ideas from all different sources. From travels to new places, a cool song, new or old, vintage book stores etc. I start with those ideas and put together an inspiration board, creating a certain mood of what I’m feeling for the season. Streetwear as a result of different influences from (sub-) cultures or a movement that expresses and influences itself? Which cultures influence you the most? The strongest influence for me is Southern California skate culture. That’s what I grew up in, & that’s what strongly guides my design and aesthetics.
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On which projects you are working currently? I’m starting on my Spring 18 footwear & design capsule along with the Vault line. What can customers expect for the fall from the Vault line? For fall 16 , we’re coming out with some vintage outdoors inspired looks & retro athletic styles. There’s also a very special collaboration I did with Brooks that I’m excited about. Three projects you consider the most interesting within you career? Definitely the collaboration with Pendleton is up there. Getting to design a Pendleton blanket was a dream come true. My capsule apparel line that started in spring 13. I really enjoy designing clothing as well as shoes, & would love to do more apparel design. The retro runners I designed for spring 16 was very interesting. That was the first running shoe silhouette that I designed. Thanks for your time Words by Joachim Offenbacher
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Images by Vans
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Vault by Vans offers a four-piece footwear collection highlighting the Sk8 Hi MTE Cup LX , an elevated take on the classic Sk8-Hi silhouette. The Sk8-Hi MTE Cup LX features premium water-resistant suede, warm linings, and a heat retention layer between the sockliner and outsole to help keep feet warm and dry. A Vans constructed lug outsole takes advantage of over 20 years of snow boot history, infusing timeless style and modern technology into footwear that embraces the cold seasons. Finally, to round out the offering, London Undercover presents three timeless umbrella models, each featuring a unique print that matches back to the quarter panels of the Sk8 Hi MTE Cup LX . Staying true to their roots, London Undercover incorporates their signature camouflage and orange combination on both the footwear and umbrellas, as well as their exclusive cotton-based, woven umbrella material on the shoes themselves.
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Vault by Vans joins forces with British-based luxury accessories designer, London Undercover this holiday season to transform the functional umbrella into an artistic platform. This exclusive pairing brings style and sophistication to the rain-proof fashion accessory and shares enhanced design features with a weatherfriendly version of Vans’ iconic Sk8-Hi silhouette.
WWW.VANS.COM WWW.VANS.COM/VAULT #VANSVAULT
The Vault by Vans x London Undercover collection launched across Europe on October 22, 2016 at select accounts.
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TUBULAR Style: Sara Shots: Schaja Model: Leo Gear: adidas Originals, Burton, Stussy, Undefeated, Incase
Hat: Stussy Jacket: adidas Originals by HYKE Shorts: Undefeated Socks: Stussy Shoes: Tubular NOVA PK GTX
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Jacket: adidas Originals by HYKE Long Shorts: adidas Originals by HYKE Sling Bag: Incase Socks: Stussy Shoes: Tubular NOVA PK GTX
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Jacket: adidas Originals by HYKE Long Shorts: adidas Originals by HYKE Socks: Stussy Shoes: Tubular NOVA PK GTX
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Headwarmer: Burton Jacket: adidas Originals by HYKE T-Shirt: Stussy Shorts: adidas Originals by HYKE Bagpack: Incase Socks: Stussy Shoes: Tubular NOVA PK GTX
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Sweat Shirt: Stussy Tech Pants: Stussy Shoes: Tubular Instinct PK
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Hat: Stussy Sweat Shirt: Stussy Pants: Burton Shoes: Tubular Instinct PK
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BEING INNOVATIVE FROM DAY ONE
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As this issue focuses on innovators, it was obvious that somebody like Daewon Song should be part of it. His skating is flawless and full of fun. He skates terrain that is not meant to be skated a result of his unique blend of imagination and skills. Feel free to check his Instagram account @daewon1song for proof. Yup, Daewon definitely skates to the sound of his own Song! Philipp Schroff, a buddy of mine, is such a big fan of Daewon that I wanted him to be a part of this interview. So here we go with a question mark hattrick, provided by Philipp plus some more by adidas skateboading's team manager Skin Phillips
aren’t new spots to find, it’s always fun to do new things. Like I do blunt kickflips all the time. For me it’s a fun go-to trick. Maybe I do them a little too much, but I like to create a way to do it harder on the same mini ramp, so I’ll add things here and there. I did that contraption where I went over the bar, where I had to move my leg in different ways. And I know there are people out there that think it’s a little too much, but I do it just for me. I want to see how I can make it harder. It’s like having a pool in your backyard and swimming laps back and forth. If you can do six laps, how can you make that harder? So the guy puts weight on himself to make it a lot harder. It’s a progression in your own world.
PHILIPP SCHROFF: Dear Mr Song, in your case it’s less
SKIN PHILLIPS: I think the point is that you can make
about finding new spots and pulling tricks, it’s about reinventing skateboarding the tricks, yourself and your DIY obstacles! Where do you get your inspiration from? DAEWON: I’m not just trying to create DIY spots all the time. I’m always on the hunt for new spots. When there
a spot out of anything. Is that true? DAEWON: When I find a new spot that I like, I try to juice the hell out of it. I’ll try to use it as much as I can, and every which way. If it’s a mini ramp, do I want to skate it like a mini ramp, or is it a mini manual pad? So now it’s a manual pad and I skate it that way, even
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though it’s not. Or I’ll go down the side of it and now it’s like a Masonite downhill ledge. I always try and see what I can do differently, especially when things are supposed to be done a certain way. Like if you give me a ledge, I’ll skate it like a ledge, then I’ll think of how not to skate it like a ledge. After being in the industry for so long after this year it will be twenty-five years—you have to start digging, and you have to entertain yourself. For me, it’s all about the fun. PHILIPP: How did you hook up with Rodney Mullen?
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Would you say that he pushed you to a higher level? DAEWON: I first met Rodney when I was skating this little school out in Torrance. It had a bump to hydrant in it and a double-sided curb. I skated there with my buddy Pat who was nearly twice my age, but he had a car. This was the end of ’89 . I didn’t meet Rodney, but used to see him in the tennis courts that were at the back of this school, and he used to just watch me. Then he talked
to my buddy and mentioned, »That kid, he does a lot of good combos, and he’s got good control.« Then Rodney left in a Camaro, peeling out. My friend told me Rodney liked my skating and I was pumped. About three weeks later I was at the 135th Street School. It was when Rodney had made that transition from Rubbish Heap where he was skating a street board. I was like, »Wow. It’s Rodney Mullen skating a hip at a school.« He talked to me that day and asked if I wanted to get sent boards. I was like, »That sounds amazing.« So he just started to send me boards I wasn’t really on the team. Over time he took me under his wing and wanted to do something with me, but a lot of the team were not feeling it. They had watched me skate and didn’t know if I was a wannabe Z-Boy or a technical skater ’cause at the time it made no sense. He wants to do a kickflip 5-0 then he wants to slash it out by grabbing his nose. I liked it all and didn’t really care, and I had no sense of direction.
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SKIN: How did Rodney influence you, did you talk
about tricks? DAEWON: Yeah, when we were on tour all we would talk about is what new tricks we could try. Everyone would go to bed at night, and Rodney and me would go out front in the parking lot and try random tricks. He told me about this guy, Dan Gallagher, who did this inside kickflip, which was the hard flip. I just gave it a go and it ended up being at the end of my part in Love Child in ’92 . At the time we had no idea what it was. To us, it was just some weird inside kickflip. Rodney was still in his twenties and he was just killing it. He could manipulate his board any which way. He helped push me and became my mentor. Meeting Rodney was one of the best things that happened in my life. He got me out of a rough situation because I was starting to get involved in stupid little gang shit. I don’t talk to Rodney so much anymore, but we are like brothers. Every time we connect, there’s certain energy between us. He’s the guy who brought me up and the guy who stuck up for me when a lot of people didn’t want me on the team. He was like, »Trust me, I think this kid is going to do something.« So he put himself on the line. When I was first on World, I rode Z-Rollers for the first three months. People who know about skateboarding will find that really awkward.
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SKIN: But that’s what made you who you are. You were a cross between a Venice skater and a LA street
kid. A lot of people don’t analyze you like that, but without that combo you just wouldn’t be the same DAEWON: No I wouldn’t. The way that I grew up, it made me respect a lot of different types of skateboarding, and it made me who I am today. I wanted to be a Z-Boy. I wanted to go to contests and sometimes get into fights. I took the bus to LA with money that I didn’t even have. I’d find fifty cents and knew that if I took the bus to LA , I could skate all these popular spots and would find some change on the ground to get the bus back. LORENZO: Philipp x Skin, thank you for your questions!
On with some more questions that are inspired by the answers Daewon gave in a YouTube video (AWAY DAYS Interview: Daewon Song), while on a promo tour in Korea for the #awaydays video with his teammates from adidas Skateboarding. Daewon, you say in that video »I went to a donut shop when I was a little kid and my very first skateboard got stolen there!« After that one board that your parents bought for you, you had to get a new deck piece by piece. Is that the era that inspired you to skate with less parts of a deck than necessary? DAEWON: When my parents first knew that I got into skateboarding, they bought me one skateboard from what would be the equivalent of Walmart today. I was so pumped. I pushed around on my knees for almost six months. I was like twelve or thirteen—progression back then was a lot slower than it is now. I started doing some stuff, and then got into launch ramps. Then my board got stolen from a doughnut shop—I was playing a video game in there. So from that point on my parents never bought me another skateboard. I started picking flowers from neighbor’s yards and sold them door-to-door, and I saved up. I’d get old rollerskate wheels from skateshops, old bearings and old boards, and that’s pretty much how I got by. In junior high I was a bad kid I stole lunch tickets and sold them for seventy-five cents a day for two months. I was able to buy a new board and people always gave me hand-me-downs. That’s why I like to use my stuff as much as I can. When it looks like its bad and used up, to me it doesn’t look as bad as it does ’cause I remember my stuff being so bad—no nose, chipped beyond. So when I look down now, even it’s badly beaten, it still looks good to me. I’ll take my shoes the same way—may be a little too far, ’cause when I put on a new pair, it takes me longer to break them in. That’s just me, I never had new stuff, and so I’ll just juice whatever I got for as long as I can.
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LORENZO: From what I’ve seen on the web, I suppose
that you're a happy, humble human being that appreciates the good things in life, even though you’ve definitely had your unfair share of not-so-fun experiences. What mantra or credo makes you stay positive? DAEWON: I feel like these days there’s so many inspirational people out there that I see. There’s a debate about social media and how it ruined a lot of things, but I see a lot of the good—being able to interact with the people that have supported me. People that have grown up that don’t skate anymore, but watched me when they were kids and still watch me. I hear this stuff and it really inspires me. I love the fact that I can hear all these different voices. Even the negative—that I do too much of this or that, why don’t you jump off this. I like that negativity to me its just life. I used to love banana chips, and now when I see them they make me want to puke. I tell a person who like banana chips that I fucking hate them, and I hope they don’t get bummed out on it, but that’s just me. Things change, and not everyone is going to like what you do but you have to accept that and not be too mad about it. You’ve got the people that still back you and you’ve got the people that don’t like what you do, but they don’t hate you. The people that tell you, »You suck.« We’ve all been there. We’ve all driven in a car and shouted, »Poser« at someone. It’s natural to beef, and it’s normal just to bitch at something. You have to love everything that our world is—you need the negative and the positive. That’s what charges my batteries. A battery needs a positive and a negative, so I put that all in my battery, and it charges. I’ve got a fourteen-year-old kid now, and I need to be there for him. LORENZO: Which musicians, writers, athletes or
good-hearted people inspire you, and why? DAEWON: I get inspired by so much different music, like old hip-hop—De La Soul, Tribe. New music inspires me. I get inspired by a lot of different athletes out there proving people wrong. There are a lot of different boxers from back in the day. I get inspired by mixed martial arts. Even the Olympics inspired me—just watching Usian Bolt run, when he starts to jog at the end. They always say, don’t look at the other person, just look at the finish line, but he can look around and afford to do that. He’s the fastest man in the world, he won’t be forever, but he’s at the prime of his life and that’s what inspires me—he’s still doing it. There’s always going to be someone better out there, but who cares. I think that’s even inspiring. That’s the world just getting better. Look at the new generation of kids coming up skating— it’s insane. It’s really intimidating, but I just have to smile and say skateboarding will not stop progressing. It’s just gonna get crazier and crazier. Music is key for me— I have music for a trick I want to do. I have music I just drive to.
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LORENZO: When you decided to have a new shoe spon-
sor, people didn’t understand why. But your answer was quite understandable: »I was with the brand for 19 years, but after 16 years the company got sold and the original owners got fired one by one. Little by little I lost all my family there. You know in your heart that you didn’t want to be there anymore. I just needed to change as well as a new inspiration. adidas was a great chance. There’s so much soul behind it.« Tell us more about that soul, please. DAEWON: When I made the switch and everyone saw it, everyone saw the message boards and all the comments. People just see what’s on the outside. I had an interview when I explained it like it was being with a girl—all she sends out is positive vibes, and all you get to see is a smile. People don’t get to see what it’s like at home and what that relationship has become. People want to judge you right off the bat when you leave something. Too much had changed and all the people that I had grown up with had gone. It didn’t feel like a home to me anymore. I want people to understand when something doesn’t feel right, you have to get out of there. Don’t be afraid to leave. It was one of the best choices I made leaving because I was scared to leave.
Every opportunity I had to leave I didn’t take it. I still have so much love for the people who are still there, but I had to get out. That battery I was talking about was going to die. When I finally got on adidas, it was a crazy. When I found out who was involved there you’re there, Shier was there that was a plus. Then I got to go to the offices and skateboard, and meet all the people who love skateboarding. You have Scott Johnston there as a designer, and Cairo is there now, as well as Matt Milligan. Once I went there, I was blown away ’cause I could feel how much everyone cared about everything, all the details. They want to make sure everything lasts, and everything is the way you want it they care. I have too much experience with people pretending to care about what I want and just blow it off. Meeting Jascha and touring with the whole team and finding out that everyone one has heart and so much passion, I don’t want to sound too cheesy but I seriously feel it. The team is not full of people with five hundred thousand followers on Instagram, they aren’t winning every contest. The team is filled with genuine skateboarders that rip and whom you can be around and just hang out. I’ve never been so happy in my life to be involved with a company.
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LORENZO: You really seem to be addicted to donuts.
How come, and which flavors are your favorite? DAEWON: I blame my mom for my addiction. When I was a kid, my parents took us to the nicest places trickor-treating. We’d get Snickers; people would give us quarters, Starburst. When we got home, they took the pillowcases and locked them up. We’d see two or three pieces of candy. I don’t know what they did with them. I think they sold them. My Dad had opened up a Shell station in South Central—same place he got shot in the face. My parents did not want me to have sweets growing up. Once every two months my Mom would make these doughnuts. Holly shit; when I had them I could not believe something could taste so good. My sister and me would save money and go to this wholesale bakery that was three blocks away when our parents were away. We’d get honey buns and Twinkies but not that much, so imagine through time when I started to get a little bit of money. I was hitting a dozen doughnuts every day. I was in heaven. Everyone looks forward to buying alcohol, but for me it was, now I can go and buy a dozen doughnuts. I always have to have a bear claw. I have a starter, which is just basic glaze. I like strawberry and anything with Bavarian cream in it. If it’s chocolate with icing and Bavarian cream, then I’m good to go. I’m going to get me some doughnuts tonight. LORENZO: This one is so much on point, even though
one should bear in mind that there are no fans, if there is on one to be inspired by: »I’m nothing without my fans!« DAEWON: Skateboarding and what I’m able to do for a living is all because of the fans. I am nothing without the people out there that support me—the people that believe in me and respect what I do every day. They defend you, they are number one. These are the people that inspire you. Also the magazines, they put us all on the map—without them we would be nothing. You have to look at them as supporting fans as well. Without fans we are nothing. LORENZO: You’re a proud dad of a son. What advice
will Daewon Song give his son one day? DAEWON: I want him to find something that he loves to do and follow that path. It can be anything, just find that passion and follow that dream. Once I found skateboarding, it saved me, and I always tell him I want him to find something he can focus on. And also don’t change for anybody—if that’s what you want to do, do it your way. Right now he wants to be a chef, and I tell him don’t let anyone tell you that you can’t be one because you can. It’s like people ask where did the real Daewon go who half cabbed flipped in a line and did switch noseblunts on a picnic table. I’m still here, I didn’t go anywhere, and it’s my choice. I’m not a different person; I’m just doing it differently these days. Thank you for your time.
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WWW.ADIDAS.DE/SKATEBOARDING @DAEWON1SONG @ADIDASSKATEBOARDING
Intro & Interview: Lorenzo Taurino Photos: Sam Muller x Andrew James Peters
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JENKEM – FEEDING THE SKATEBOARDING CROWD…
VOL. 1 HITS THE COFFEE TABLES WORLDWIDE Known for its high reputation within the worldwide Skateboarding community, the website covers several categories like interviews with the who is who of Skateboarding culture as well as more philosophical aspects like »what do the kids think of Skateboarding in the Olympics«. All in one a great mix to keep the scrolling cyber crowd entertained. Newest contribution is the book series covering the highlights of the last years. We chat with Mastermind Ian about the combination of print and digital and many more… Stay informed Interview by Jo Offenbacher
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Hey Ian, what should people know about you? I am human. I skateboard. What else? I live in NY… I was born here too, but I spent several years growing up in Vienna, Austria—that’s actually where I learned to skateboard. Dornbacherstrasse, in the 17th district… there’s a church there that I would skate in front of… that’s where I learned to ollie. What gave you the initial motivation to start it back in the days? I didn’t want to get a job. I wanted to skate all day, and geek out on skating at night. And at the time, in 2011, the mags weren’t fulfilling me… Transworld was kinda too safe and Thrasher didn’t do as much in depth editorial as I wanted. I really like reading interviews, long ones, and the ones you might read in a magazine like Playboy or hear on The Howard Stern Show. So Jenkem started with me venting my frustrations and trying to do more in depth, fun interviews in skateboarding, just to keep myself entertained. Who’s involved in general? Right now we have a small team of people, myself, Justin working on sales and Alexis and Christian helping with editorial. Then there’s a whole list of reoccurring contributors, friends, homies… I seriously couldn’t do it without these people and all the contributors who have been down since the beginning. Thank you guys. You recently showed up with a great book »Jenkem Vol. 1«. How does it fit in your whole strategy? Thanks man… Jenkem and »strategy« are two words that don’t show up together too often [laughs]. We do everything by our stomachs; articles and ideas are more of a gut feeling. As a result, the Jenkem way of working usually turns out to be the more work intensive, impractical, and foolish way, but that’s us. The only thing we have in stone right now is that we plan to do a book a year a year moving forward. So in January we will begin working on Jenkem Vol. 2—it will be another fat hardcover book, with new content and some other surprises. Is print still appreciated nowadays? I think it’s more appreciated! Since so many companies are slowing down and stopping their print operations due to cost, print publications are getting more and more rare, so it’s a cooler thing to do now, more than ever in my mind.
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How can both media exist besides each other? Is there a possibility that there is an effective combination of both? Obviously print can, and should exist with online. As we all go more digital, I think print should just be treated more special—like a vinyl record or something. We actually nearly almost sold out of our first Jenkem Vol. 1 print run and I think that’s because we took our favorite stuff and made it analog—and created new stuff and made it just for print. I think keeping online and the website going as the day to day, week to week news outlet is good and then having print just for more timeless pieces. More photo pieces, art pieces and stuff that really shine when happen in print. The fact that we are only going to do it once a year means that it‘s almost like a yearbook. To me, that holds more weight than just a monthly magazine.
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What makes a website popular these days? What is crucial from your perspective to make it a success story? This is a super general question, I don’t think I can answer it as a whole, but to me, making original content is key. Anything—writing, filming, blogging… fuck…even making GIFS—as long as you are creating something cool and contributing to your subculture’s ecosystem, you will be much better off than just being a robot aggregator and reposting the work of others. How did you gain the reputation? What kind of marketing measures do you initiate for the side itself? There is no marketing. The articles we write and videos we make are the »marketing«. Make cool stuff for yourself and I think other people will find it. I really do believe that. The presence via the social media channels like Facebook, Twitter and the »classic« www homepage. How to combine it? Which approach for which info channel? Uhh… I don’t know if we are the best to answer this shit. I mean… we just do different things for each channel. Treat them all like their own mini webpages. Instagram, maybe do a cool little 1 minute edit to promote a longer edit on Jenkem. Twitter, maybe make a GIF of something cool from an edit that came from an edit on the webpage… etc etc. What’s in the pipeline for the next six months? Future project you will share with us? Well… in November we plan to launch our first little collection of clothing. Something small, something for friends and contributors, a lower run, mostly for family and people who have helped and like the site. We’ll sell some directly through the website too. Then in January we’ll start on Vol 2… and I have another little musical project coming out in the spring that I’m working on now. Trying to also sit less at my desk… just bought a standing desk so testing that out, seeing if that helps my sloppy ollies.
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To end: Jenkem in 5 points 1. Thank 2. You 3. Everyone 4. For 5. Reading!
WWW.JENKEMMAG.COM WWW.INSTAGRAM.COM/JENKEMMAG/ WWW.FACEBOOK.COM/JENKEMMAG TWITTER.COM/JENKEMMAG
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Coat: Sandro Sweater: Ben Shermann Shirt: Filippa K Pants: Mastercraft Union Shoes: Converse
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THE PLAYFUL GREY TEAM
photographer: TOBIAS WIRTH hair/make up: YVONNE WENGLER styling: JULIA QUANTE @ PERFECT PROPS model: CHRISTOPHER PASKOWSKI @ MEGA MODELS photography assistant: LINDA HANSES
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Shirt: Samsoe Samsoe | Pants: G star | Shoes: Filing Pieces
Shirt: Issey Miyake | Pants: Uniqlo
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Coat and Rollneck: Weekday | Pants: Drykorn | Shoes: Cheap Monday S H O O T — 118 —
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Suit: Closed | Sweater: BLK DNM
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Coat: The Kooples | Sweater: Sandro | Jeans: BLK DNM | Watch: Komono
Coat: Weekday | Sweater: Sandro | Pants: Uniqlo | Shoes: Adidas
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Jacket: Schneiders | Pants: Sandro | Rollneck: Lacoste
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Jacket: Cahartt | Polo shirt: Lacoste | Pants: Tiger of Sweden | Shoes: New Balance
Jacket: G Star by Marc Ronson | Shirt: Carhartt | Sweater: Drykorn | Pants: Issey Miyake | Shoes: Filippa k
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DE PARIS, OF LONDON, AUS BERLIN YEARBOOKS
DOCUMENTING SKATE CULTURE
DEAR FOLKS, HOW ARE YOU? PLEASE INTRODUCE YOURSELF SHORTLY I’m Thomas Busuttil, I started the project after hitting Stephane Borgne (associate partner) about the willing to create something different and which could renew what we already have in the press magazine offer. Something which could last longer and also have enough space to fully document a subject when you choose one you want to dig around. IN WHICH PROJECTS YOU ARE INVOLVED? I’ve been working with Soma and A Propos Magazine, and Stephane was part of Chill skatemag. We’ve started the »De Paris Yearbook« in 2013; it was 176 pages coming with a small exhibition and a 4—5min video documenting the scene. A year later »De Paris 2014« became a 304pages book coming with a bigger exhibition, a 28min full-length video about Paris and a little brother “»Of London Yearbook« (176p—its video and exhibition too). This Year we launched both issues of a »De Paris 2015« (304 pages), Of London Yearbook 2015 and an other new addition “Aus Berlin 2015”. Surrounded by a euro travelling exhibition that stepped up in London first, then Paris, to finish in Berlin at Bright tradeshow, ShitFootMongoLand Tradeshow and Civilist store. As the project grows we needed some more space to hang all the selected photos and premiere our new full-length video called »3« (27 minutes) which shows up what Paris, London and Berlin has best to skate, captured by some of the most involved skateboard film editors from each City (Guillaume Perimony for Paris, Mark Nickels for Berlin and Austin Bristow for London)
TELL US A BIT MORE ABOUT THIS PROJECT OF THE CITY TRILOGY »DE PARIS«, »OF LONDON«, »AUS BERLIN«. WHAT WAS THE INITIAL MOTIVATION AND WHAT HAPPENED SINCE THEN? This idea of changing what the press and print media has to offer. Make it last longer and really try to describe what’s happening, almost in a sociological way of description of the trends evolution in skateboarding and all the connected moment that are happening and linking to art, music, city life habits within a group. During a year in one geographical area and then with more cities, being able to see those differences or similarities. Since then, we’ve noticed that the whole scene were really interested about having this piece of memories dedicated to what happened to them, it also pushes some creative such as young photographers/ videographers who get their first printed photo or first time they are really part of something bigger. HOW WOULD YOU LIKE THE BOOK SERIES TO BE REALIZED OUT THERE IN THE SKATE CULTURE? Just something made by skateboarders for skateboarders but which stays understandable by everyone else, all those people that surround us. WHO IS INVOLVED? Only skateboarders, and people coming from skateboarding. From our photographers, videographers, motion designers, sound designers, even the soundtrack from the video comes from bands that used to skate. P E O P L E — 127 —
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FOR WHICH REASONS DID YOU PICK THESE THREE CITIES. WHAT MAKES THEM UNIQUE IN YOUR EYES? They have been some of the most iconic cities for long. London always had its own thing. Berlin has been more and more trendy and in perpetual reconstruction for the past years, so, a lot of new spots were growing every weeks and Paris is now the new European Barcelona in term of … just for a moment. HOW WOULD YOU DESCRIBE THE LOCAL SCENES, THE SKATE CULTURE ITSELF AND THE URBAN ENVIRONMENT? ARE THERE DIFFERENCES? Every capital has its particularities. The rough London ground associated to one of the most humid climate makes it hard to skate, but so enjoyable when you land a proper trick. Paris has the best pavement in Europe, skating from spot to spot, close to each other is just a never ending pleasure. And Berlin, with the cheap cold beers everywhere and unexpected architecture, melted with parks and green make it peaceful somehow. So both urban environment and climate are influencing of how the scene evolves, but the scene in itself just tries to go over what can be a problem and find its own way to enjoy the city… that’s the starting point of every scene and why they evolve differently. SEEING THE EUROPEAN SKATE SCENE AS A GOOD ORGANIZED AND CONNECTED NETWORK, WHAT DO YOU REALLY ENJOY AND APPRECIATE CONCERNING THIS PROJECT? Having the possibility to work with over 100 photographers from maybe over 15 nationalities. Trying not only to look at yourself, but being able easier to share who you are and what you have to bring with/for the other. The
network is not totally organized it’s a lot of independent people doing their own stuff, but it’s what helps them to keep their own creativity and way of see the things. WHAT’S ON THE ROADMAP NEXT? FURTHER CITIES? OTHER MOVEMENTS? We really like what’s happening in Copenhagen, but we might push further outside of Europe too. We made our first collaboration with Push Periodical in March, releasing the first Push x Of SF fanzine. A Full book could be the next step… but also exploring other kind of ideas, make books about other concepts. YOU ALSO MAINTAIN THREE CORRESPONDING WEBSITE WHICH GIVES A GREAT INSIDE IN THE LOCAL CULTURE. WHAT WAS THE IDEA OF CREATING THESE? HOW DO PRINT AND WEB GO HAND IN HAND? Web platform are here to give the fresh news of what’s happening in every city, the new video premiere, another team coming in town for a demo, a new spot etc … then allow part of the young scene to be connected with what’s happening now. And in the books show up the best of the year, what event should remain in our mind, what really did matter for the city at the end of this year. Nothing based on the emergency. Things are past, but still important and sometime beautiful. Trying to keep the best and what really came out of a year of skateboarding in the end, and not only over the board, but also off the board. Taking a step on the side to look back to what happened in your city concern you as much as your friends. So I’m trying to talk behind this book to all the people who finally shared this city with us in a specific moment. Thanks a lot for your time Words by: Joahim Offermann
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THREE QUESTIONS TO THE PHOTOGRAPHER: 1) BEST SPOT
2) BEST LIGHT
3) BEST PLACE
LEUR T CHOU g et u p us CLEMEN Gonzales and Camp y rk a it M rs e ly iv n Un ho board. 1. Jussieu t, althoug his circle rning ligh n o o m s y y a e session ra s t 2. I’d the firs ut after th h o tc g a n c a h to to that early est place que q canal, b rc e of Pétan u m O a g e h a T d n 3. a rs e e le of b for a coup
T H IB A U LT LE NOURS 1. The street s! 2. Really earl y morning or around 8pm 3. Parisian ro oftops
VINCENT COUP E AU 1. La Kantera in Bilba o 2. Recently I had a crazy feeling with Me xico, more over the beach in Pu erto Escondido, yo u can shoot photos any time of the day, it always loo ks good, almost disturbing. 3. Depends on my mood, but I rememb er from Las Palmas, Gran Cana rias and I felt like I sh ould have stayed there foreve r. Life is slow, food is very good, prices are cheap, an d people are smilin g and talking to each other, it’s all about sharing. I lov e that.
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MIKE BASICH SHOT BY BUD FAWCETT, 1990
SNOW BEACH: SNOWBOARDING ST YLE 86–96 ASSEMBLED BY ALEX DYMOND
JOHN CARDIEL SHOT BY CHRIS CARNEL , 1991
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JEFF BRUSHIE SHOT BY ROD WALKER, 1992
SHAUN PALMER SHOT BY JON FOSTER, 1993
Ahh, I got this email the other day that made me smile and reminisce in old memories. It came from my good source for powerful books straight outta … oh no … but Brooklyn, NY and ones again they proof to have the right knack for an amusing photographic journey. I talk about the publishing experts at PowerHouse Books. Oh, this one is about snowboarding and actually about this special time when I started myself in army boots and a denim pant made water resistant, back than in 1985. Standing sideways and sliding down snowy hills no matter how big they were have been my away days of skateboarding. Looking back to this time I can say — it was the most original time in snowboarding culture anyway. It was all about pioneering styles, shapes, and tricks, whatever. That innovation of tweekin’ styles became a real forest fire. Being rebellious was a natural part of it. Being different. It were off-season skateboarders that came to the mountains having a good time and finally had the toy to shred snow, but others did not even had a skateboard. Maybe the more colorful styles where inspired by aerobic?
JEFF BRUSHIE SHOT BY JON FOSTER, 1995
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RUSSELL WINFIELD SHOT BY DANO PENDYGRASSE, 1993 NOAH SALASNEK SHOT BY DANO PENDYGRASSE, 1993
SETH NEARY SHOT BY TREVOR GRAVES, 1991
JEFF BRUSHIE SHOT BY BUD FAWCETT, 1992
»Snow Beach draws on the best photographers of the era to document the lifestyle, fashion, and feats of athleticism that defined the decade. In these tightly cropped action and lifestyle shots, snowboarders flaunt their outsider status as champions of the alternative winter sport. The images in Snow Beach are of snowboarders with grunge, punk, and hip-hop sensibilities. There is a lingering 80s ski flair mixed with the emerging 90s look pioneered by fledgling brands like Burton, Sims, and Ride, showcasing looks that are popular in modern fashion. With about 40 years of history as a seasonal activity, snowboarding has done a sparse job archiving and documenting its own history and there are no definitive books on the subject currently available.« P O W E R H O U S E
SHAUN PALMER SHOT BY BUD FAWCETT, 1988
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SHAUN PALMER SHOT BY JON FOSTER, 1993
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JOHN CARDIEL SHOT BY BUD FAWCETT, 1990
CRAIG KELLY SHOT BY ROD WALKER, 1992
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Anyway it was the time of Rage Against the Machine’s »Fuck you I wont do what you tell me« mentality that was conquering the sheltered mountain resorts. This Book is about these pioneering times of snowboarding. It is compiled and conceptual designed by mastermind Alex Dymond. And yes he is that New York-based spearhead of our culture working since ever in the creative dept. of supreme. He made it happen that Snow Beach features top of the pops riders captured in photo contributions from Bud Fawcett, Dano Pendygrasse, Jon Foster, Trevor Graves, Vianney Tisseau, and many more, along with essay contributors Jesse Huffman and Pat Bridges. We are pleased to tease you with these. Words by MM
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TERJE HAAKONSEN SHOT BY VIANNEY TISSEAU, 1992
» S N O W B E A C H I S H E R E TO S E T T H E R E C O R D S T R A I G H T. «
JEFF BRUSHIE SHOT BY DANO PENDYGRASSE,1992
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NOAH SALASNEK SHOT BY BUD FAWCETT, 1992
TONY HAWK SHOT BY JON FOSTER, 1991
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»Snow Beach is the definitive book of snowboarding in the late 80s and early 90s: action and style on the mountain. In these early years, snowboarding culture was full of rebellious riders: off-season skateboarders and generation X’s outcasts trying to find their way through early adulthood and adolescence. At the same time, the sport was maturing and growing into the mainstream giant it is today.« P O W E R H O U S E B O O K — 143 —
JANNA MEYEN SHOT BY JON FOSTER, 1993
MIKE RANQUET SHOT BY SEAN SULLIVAN, 1996
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»Snow Beach« Snowboarding / Photography / 80s & 90s Hardcover, 9 × 11 inches, 176 pages ISBN: 978-1-57687-820-0, $40.00 US/CAN www.powerhousebooks.com
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RAPX / DISTURBANITY GRAPHICS SPECIAL EDITION HOODIE, AVAILABLE SOMEWHERE. THE FUTURE IS FOREVER!