A CARHARTT WIP / POLAR SKATE CO. PUBLICATION. ISSUE 001
Rugged and bold: two adjectives that perfectly describe both Carhartt WIP and avant-garde skater, Pontus Alv. Sharing a distinct vision of skateboard culture, it’s no wonder that the man from Malmö has been part of the workwear brand’s skateboard department for more than twelve years. It is this work ethic that is causing Pontus’ brainchild The Polar Skate Co. to cause a stir in contemporary skateboarding, breathing new life into meaningful graphics, pushing heartfelt style and bringing back longforgotten 90’s spice. All that, plus his ever-inspiring, timeless shredding to back it up. Working closely with a team of friends, artists and designers, including Jacob Ovgren, Stefan Narancic and photographer Nils Svensson, The Polar Skate Co’s graphic department works it’s magic, along with a team of like-minded skaters: Jerome Campbell, Hjalte Halberg, Michal Juras, Oskar Rozenberg Hallberg and David Stenström. Feeling very strongly about skateboarding and born with a charismatic sense of mission, Pontus had been thinking about setting up his own company for years, looking to create a platform to give back to skateboarding. Finally, with two successful films under his belt, “The Strongest of the Strange” and “In Search of the Miraculous”, it was time to take on the skateboard industry that he felt had become stale and boring, releasing mindless logo-graphics and uninspiring videos to a starving scene. Drawing inspiration from 27 years of skateboarding experience, clear and uncompromising visions and the radical urge to save what he holds so dearly, The Polar Skate Co. was born. Carhartt WIP and The Polar Skate Co. join forces to create Stoker Magazine, delivering product with a meaning. Skate stuff that will leave you epically stoked! Jan Kliewer
INTERVIEWS: PONTUS.ALV 6 26 STEFAN.NARANCIC 36 JACOB.OVGREN, NILS.SVENSSON
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HISTORY PRODUCTS
Photographs Nils Svensson Illustrations Stefan Narancic Jakob Ovgren Text and interviews Jan Kliewer Conception & Art Direction Pontus Alv Bertrand Trichet
Graphic Design Pontus Alv Jad Hussein Printed at The Guardian Print Centre, Rick Roberts Way, London E15 2GN Editor Edwin Faeh Work in Progress GmbH
Work in Progress Textilhandels GmbH Hegenheimer Strasse 16 D-79576 Weil am Rhein Germany +49 (0)7621 966 6 info@carhartt-wip.com www.carhartt-wip.com Polar Skate Co. Unit 7/8 Lakeside Industrial Estate Stanton Harcourt Witney, Oxfordshire United Kingdom OX29 5SL info@polarskateco.com www.polarskateco.com © Work In Progress Gmbh & Polar Skate Co. 2014
Michal Juras, bank to bank transfer
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PONTUS.ALV.INTERVIEW
Hey Pontus! First of all, would you like to give us a short summary of your motives that made you start the Polar Skate Co.? You know, for many years I’ve been wanting to do my own thing. Through the two films I made (Strongest of the Strange and In Search for the Miraculous) I tried to inspire other people; to build D.I.Y. stuff and to get into the type of skating I was presenting. I wanted to create a platform and a fan-base. Thus I gathered the confidence to even start my own brand. Actually doing it then was a natural step. Because: Being a pro skater, then making the films—what else are you supposed to do if you want to develop be skateboarding and be involved in it? I thought: Ok, let’s take the final step, let’s challenge the industry and the idea of what a skateboard should be about. Also looking at the skateboard climate three years ago, or even before— it was pretty dry, pretty stagnant, and the culture didn’t really develop in any kind of direction. Now, over the last years we’ve been seeing new brands come up like Magenta or Palace in Europe, Welcome and Fucking Awesome in America; all fueled by of a movement of people that want something new. We (me, Stefan, Jacob and the rest of the team) thought we could contribute and create something special and push our culture forward; or at least present our ideas and provide a new direction. You’ve been riding for Carhartt WIP for many years now and have been part of many cool and nonconformist projects. Did any of those experiences help when setting up Polar? Of course Carhartt WIP has always supported me as a person and a skateboarder. They’ve always helped out—supporting our D.I.Y. projects with funding for concrete, they’ve helped me create and distribute my videos… They even let me layout my own ads, which started the ball rolling for me— my first steps into the industry, away from only being a skateboarder. This involved picking up a camera, being aware how you’re presented, working on the computer, doing layouts and ads; the first steps of expressing visions and ideas of how you see things. Carhartt WIP supported me throughout all of this from an early stage. They let me try out all kinds of weird or crazy ideas the way I wanted to. So in the end, these experiences went into making Polar what it is now. I remember, about ten years ago, when we were going on trips together, you sometimes seemed frustrated that you had been taken out of your comfort zone in Malmö. You were bragging about just wanting to have fun and skate “the perfect quarterpipe!”, which you and your homies had set-up at home. Was reviving this feeling part of the motivation for this project, bringing back the derelict Steppeside spot? Very long story short: When you travel the world skating, you want to find and skate new spots and search for new experiences: The feeling of riding
the first full-pipe, the first backyard pool or the perfect wallride; your dream spots. Those spots do exist, but it’s an endless, worldwide chase of exploring terrain. I got tired of that and wanted these spots closer to home, I think that’s why a lot of skaters are into building things. We want to ride our dreams! Whatever vision you and your friends may have, find a place and you can make it happen! Build your ideas!—I built many spots together with the crew here, and yeah, I was a part of that whole movement, the D.I.Y. culture. I’ve been pushing it through many articles, giving advice on how you do it, maybe showing it in a way that was inspiring to other people… But this project is sort of my retirement from building, maybe not completely, but I definitely don’t have the same drive I used to have; the only spot I really see myself building still is TBS. I feel like I want to move on, skate new things, create new visuals, because to me, the look and feel of what you skate is really important. For me it’s about filming something that is visually interesting; also the atmosphere, the people—all of these things add to the flavour of a spot. So by renovating Steppeside and experimenting with the sculptures, I was able to create new visual expressions and present new visual ideas. To me skateboard parks have become quite standard: all concrete with all the possibilities in the world—but people mainly just want to have their stairs and pyramid; you don’t really see any development in the creative side of designing parks, caring about details and materials. How did you choose antique statues and their symbolistic cosmos to garner the spots on these shoots? I thought the imagery of a fallen empire would be a good way of sort of saying goodbye to the D.I.Y. world. I think it’s super rad to see people all over the world building stuff, but for me personally, I need to see something else now. I’m still into it, but needed to do something else with it!—That’s the fallen empire, a new dimension. I’m very pleased with the outcome: just having these statues in place, allowed us to create a whole new atmosphere. Did you have a clear vision of how the whole project was going to look beforehand? Or was a lot of it created in the process? The whole idea came from seeing a web ad of those sculptures; Stefan is working on a lot of human body studies and so is Jacke. I thought, we could maybe illustrate their work in real life. For sure I had an idea of the visual effect on photographs, but in my head I was picturing the statues to be much bigger and maybe more powerful. So creating this full effect was hard work; playing with the perspective and doing some clever close-ups was key. In the end most of Nils’ shots came out really well, but making your vision a reality is never easy; you hit problems along the way, mental break-downs… but in the end you normally get something out of it. Here most things came out as I pictured them.
Regarding this collaboration between Carhartt WIP and Polar: Where do you see the benefits? With the Polar brand we have been getting many requests from random companies to do collaborations— which I usually don’t pick up. However, with Carhartt WIP I think it makes sense because there is history and roots between us for more than twelve years. The benefits for them: They get a rad, new, unique vision of skateboarding that they can present together with us. But in the end it’s not about benefits— it’s about presenting a new spark to the skateboard community. You know we flip through these magazines every month, all these clips online, and it’s all the same, over and over again! It is such a challenge to break through that mass of information and create something that makes a difference. So, of course there are no guarantees, but in my eyes this is something where I think: Wow, this is sick! And I think Carhartt WIP throughout the years have been really good to find these special projects—like going to the Alps recently or to Mongolia a couple of years ago: Pushing new ideas, rather than just random skateboard action shots. What’s been the biggest challenge regarding this collaboration? What have you learned in the process? The size of the project presented our first challenge. When we first thought about it, the Steppeside bowl was in a very bad shape. I think it got smashed into pieces about three or four times altogether. The renovations, redoing the coping and fixing cracks took ten days of work, then we had to bring in all of the sculptures, it was heavy! I just got the Super 8 films back off David and Oski from development recently, and it was all worth it! It’s going to be a section in the Polar video that I’m quite pleased with. What happened to the sculptures? Did you keep them? A lot of them got stolen, even though some were concreted in! People really took some effort! But I kept a couple for myself. What’s the next thing you have up your sleeve? Well, for the company, the video is the next big thing that we will focus on. It’s going to be my last part, I’m retiring and am not going to be sponsored anymore. It’s a big goodbye in many ways, I’ll still be involved and go on trips, film and hang out with the Polar boys and skate for fun. If I’m not giving it 100%—which I don’t have the time and energy for at the moment—I don’t want money from skateboarding! Thus, I won’t be a pro-skater anymore. I want to enjoy skating just for the sake of skating again. And as far as building goes, I feel TBS is my masterpiece. I’d like to go on perfecting it as long as I can. I also have this idea of a treehouse ramp, inspired by that Ewok village scene in Star Wars. Working with metal could be amazing, full-on spots of heavy steel! My dream would be a double sided TBS, 500m long! Even more of a dream: A football field size skateboard labyrinth…!
Pontus Alv, wallie over Venus de Milos
Pontus Alv, fs five-o at Stepoli
David Stenstrรถm and Oskar Rozenberg Hallberg, pursuit gap to smith
Hjalte Halberg & Pontus Alv, pivot to fakie & lien to tail at dawn of the lost empire
David Stenstrรถm, fastplan
Jan Kliewer, bs hurricane
Hjalte Halberg, fs noseblunt-slide for a shy boy
Pontus Alv, fs no comply tail smash & lien to tail
Oskar Rozenberg Hallberg, bs noseblunt in a lost empire
Michal Juras, wallie
Jerome Campbell & Pontus Alv, bs tailslide/early grab & bs wallride
26 STEFAN.NARANCIC.INTERVIEW General start: Stafan, what makes a good graphic/image? I could give you the academic answer about storytelling, perspective, composition, anatomy, colour, theory etc… Although I believe these are essential tools/concepts of image making they are maybe not necessarily what makes a good image all times. This is of course a subjective question, so let me see… damn, I like it all!—A bad image can appear just as good in the right context. It’s of course awesome when it’s something thought through, but it can also be cool when it’s just a random thing. It’s usually about communicating something I feel; but sometimes a setup that is so vague, will force you to make up your own story; just like watching clouds in the sky makes you see shapes of things. I like it a lot when a still image feels like a piece of a moving clip, like its a still frame from a motion picture. This immediately starts your brain, trying to puzzle together pieces. That’s pretty good. A good image can sometimes confirm and say something you thought only you had thought of before, which makes you feel understood and connected to the world, like a song lyric can do sometimes. Sometimes its just superficial, greatly executed, very technical but no more than that. It can vary so much, like a surrealist or abstract image can be as strong as the functional work they do in conceptual art. Who can really tell what a good graphic image is. It varies so much depending on personal paradigms and what time of the day it is. You know sometimes you see one and feel “this is great” and show your friend who thinks it sucks, but then some time passes and you don’t care for it but now the friend does. Hopefully you have a great discussion about it! How do you go about finding it in your work? I usually start out with some notes to form an idea myself. It can sometimes be some pieces of information that have caught my eye. Then I just start building from there with thumbnails and move up into the finished piece. I try to work as methodically towards my end result as I can. In recent years I’ve relied more and more on classically proven draftsmanship and studies of how other artists have solved problems in communication. My earlier work processes have varied greatly. I used to avoid the fundamentals for many years because it’s very hard and daunting at first and felt it took longer than just hammering out stuff in computer programs. In reality I would waste more time guessing my way forward. The fundamentals are important, I tell younger artists that sometimes mail me with questions: study them: composition, perspective, anatomy, colour. Once you do the mileage on these you don’t even think of it anymore but you end up with tools
that enable you to do whatever you want and go in any direction you choose. I heard the art teacher Marshall Vandruff say something along the lines of: “Just like when you were a child they taught you the alphabet step by step and now you can write and speak whatever you want without even thinking you’re doing it. The same thing you can do with the art fundamentals. Learning, writing and speaking are actually harder than drawing because it’s a made up abstract formula. In drawing you actually can see everything with your eyes. You just need to learn to understand what you see, how to analyse it and break it down. It’s hard but doable.” Sorry to go so far off tangent on this but I do training every day, like drawing from life, watch instructions or go to museums and live drawing sessions. As many will tell you, art is a constant study. All of this has really enabled me to find ways to control the outcome of my images. Alongside art studies, I fill my day with information from all aspects of life. Reading on the internet of course and listening to a lot of podcasts and audiobooks. Podcasts are fantastic because if you tap into the right ones you can get a broad range of subjects with experts in one program. All of these are great because I can listen while working. I wish I could read more books, because I believe this is one of, if not the best activity to get your visual imagination working. While I’m refining my ideas and working, connections appear between all these things and everything comes together. It’s a very nice thing when that happens. With Polar you all have worked very hard to establish a very unique and distinct graphical direction and picture language. What’s the main force behind it, what’s the idea that drives you all? I think in my case it’s just a combination of artists I’ve studied and tools I’ve learned to use to my advantage. When we started Polar I had just scratched the surface of the direction that I was headed in. Polar triggered a good momentum for me. I took this opportunity to refine and work on it. How do you see what fits into the bigger scheme of the Polar universe? The Polar universe grew pretty naturally. So we just keep doing what we are doing and let it progress naturally over time. We haven’t had to talk much about the future direction because we all try to push our work in new directions anyway, instead of getting too comfortable where we are. All of you guys have different styles and ways of working. Why do you think they work together so well? Me and Pontus have the same resources in our brains because we grew up together. Together we established what we liked in skateboarding. Also later in life
to some degree we did it with art too. Maybe our execution of styles are different but we share some foundations there too. Me and Jacob meet up daily, spend hours in cafes drawing and talking about art and stuff, so I think we are all just open to learn from each other and that somehow strikes a good balance. What made working on this project especially interesting? What might have made your work more difficult? I’ve done many cast studies in my training. So I was very happy to draw stuff on this topic for this project. I also liked that I got the opportunity to go out into the field with the team and draw and sketch on location while they were doing their job. Unfortunately this doesn’t happen so often. What’s your favourite board graphic ever? That’s impossible, but I do have a soft spot for the old Powell Peralta graphics. There are so many special boards from all brands. All are not necessarily great art, but some graphics are just so emotionally ingrained that when you see them in pictures these days they almost bring back smells and feelings you had in your childhood. It’s almost like you don’t see what it actually looks like, like it’s more of a symbol or something. It’s interesting that it works like that. What’s your biggest source of inspiration? Life experiences, nature, environments and simply other artists. The masters, the outsiders, naivists, realists, hobbyists. All types, not one in particular. I like everything from all ages and periods. Ancient art, renaissance, contemporary art, concept art. The Internet is so mind-blowing, it lets you tap into all of aspects of everything. Just digging around there drilling into topics. I spend a lot of time on wikipaintings.org, google.com/culturalinstitute and newmastersacademy.org What do you see yourself working on, ten years from now? Drawings, paintings and sculptures.
Pontus Alv, bs ollie
Pontus Alv & David Stenstrรถm, bs ollie
Up & down but in the end we will all fall
David Stenstrรถm, fs bones over the Gate of steal & volcano melon grab
David Stenstrรถm, bs ollie at Stepoli
36 JACOB.OVGREN INTERVIEW
General start: What makes a good graphic/image? Something funny or stupid with bright colours that makes you go whaaa!!
For Polar, we always use ancient methods, or the mentality at least— let it take some time, but make sure the outcome is good!! The imagery enforces this.
How do you go about finding it in your work? Hmm… I’m not too sure! I just draw stuff that I think about and try to express some kind of feeling in it!!
What made working on this project especially interesting? What might have made your work more difficult? It’s just different from what we have done before! Just the feeling and look of it is interesting. When you have such a spicy team and crew that are hungry for some new food, they have to be fed; including me!!
With Polar you all have worked very hard to establish a very unique and distinct graphical direction and picture language. What’s the main force behind it, what’s the idea that drives you all? I just want to see good graphics on good boards, that people can be stoked about… The biggest motivation is when you see or hear some kids talking and laughing about a graphic… especially if their parents are like: No, not that one!! Kids have so much better taste!! How do you see what fits into the bigger scheme of the Polar universe? I guess we talk about it and make it fit in… Hopefully it’s because the stuff is funny and cool, Just like Polar and its crew!! All of you guys have different styles and ways of working—Jacob is into medieval shit, sarcastic, cartoony stuff; Stefan contemplates lucid dream realms and goes deep into details of anything he touches; Nils’ photography strives of strong, contrasting, raw images showing the essence of what’s sick about skateboarding; Pontus works around his dad’s death/life or bi-polarism issues. Why do you think the work you guys do blends together so well? Because there is a bit of everything… And even if all of our styles are different, in the end we all like the same stuff. It’s just different ways of expressing it I guess!! Regarding this project: What was the idea behind using Greek/ antique statues in a skate-shoot/ skate-campaign? My thoughts were to build all the statues ourselves. But after a few weeks of trying, we gave up!!! I wanted it to be this surreal world with statues and strange people (skaters) riding around in their little fantasy realm. It kind of looks like that, as soon as you get behind the wall that surrounds Stepoli (former Steppeside; demolished and then revived by the Polar team), it is like entering another world. You don’t have to care about traffic or people or anything. You have your little free space in there where you can go nuts and do what you want! One of the only spaces in Malmö that has been forgotten, or not cared about. How did you approach combining the imagery of ancient Greece to the Polar × Carhartt WIP collab? Where do you see intersections; as well as imagery, as brand-related?
What’s your favourite board graphic ever? 101 The Devil Worship! The whole thing with the name “Natas” and coming out in a religious country like the US, when it did!! It’s pretty genius… What’s your biggest source of inspiration? My mind and people around me and on the street; the weird ones are the biggest inspiration of ours. Being normal is kind of boring! I always get a ton of inspiration hanging out on the street with the team, they are all so funny and weird (in a really good way!). What do you see yourself working on, ten years from now? Even better Polar graphics and more drawings and paintings!!
NILS.SVENSSON INTERVIEW Nils, what makes a good graphic/image? Something that speaks to you, something that gets you interested and draws you in and makes you look an extra time. If the image can get your attention and keep it, it’s a good image in my books. How do you go about finding it in your work? I try to focus on what I find is the most interesting part of each image I try to capture. Sometimes it’s a facial expression, or the rawness of the trick. Other times it’s the landscape or the surroundings that are spectacular. Basically emphasis on the stuff that tickles. With Polar you all have worked very hard to establish a very unique and distinct graphical direction and picture language. What’s the main force behind it, what’s the idea that drives you all? We all have the same background (except baby Jacke), grown up together with the same references and stoke. We were heavily influenced at the start of our skateboarding life and that will stick with us for the rest of our lives. What made working on this project especially interesting? What might have made your work more difficult? It is very interesting to dive in completely and explore a subject to its fullest. Test different directions and finally find a language that works and makes sense. We had a few minor setbacks, but some big breakthroughs, and when all the pieces of the puzzle finally found their place it was a great feeling. What’s your biggest source of inspiration? In the past it was skateboard magazines. To see the photography of Tobin Yelland, Sturt, Spike Jonze etc. Getting into these photographers at a young age then led me to other stuff outside skateboarding to explore. These days it is travelling, meeting people and tapping into their stoke and stories. Explore new terrain and new experiences. What do you see yourself working on, ten years from now? I’ve dedicated my whole life to skateboarding in some way or another and I don’t see that changing really.
Jakob Ovgren, bean plant
Jan Kliewer, fs hurricane
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SAVANNA.SIDE. (2002 / 2004)
This was our first project here in Malmö, building on a old factory foundation. We all felt a big need to ride our concrete dreams and the crew and motivation was strong. We all have great memories from this place and it was an exciting time for all of us. We all learnt a lot during this period, the rights and wrongs, what is possible and not, what to avoid and what is needed to build your own world. Unfortunaly the place got out of control due to the invasion of homeless people and the trouble they brought with them. Over night, out of the blue the city forced the private landowner to clean up his land ASAP, so he did. Bulldozed our dreams away… But for me this is the part of the charm of these places. They are illegal, we are occupying private or city owned land and building our concrete creations and building our own little world within the society. A place where for a year or two, or maybe just a week, we can be kings and it gives you a feeling of so called freedom far away from societies rules and laws. But somewhere we all know it is a lie and these places are temporary but that’s why the love is so intense and good. We know they have a limited lifetime and it can all be gone in a second. Each session is full of passion and each session could also be the last goodbye kiss. Romantic isn’t it?
Nils Svensson, feeble grind
Marcus Olsson, bs Pivot on our first concrete piece while Tobias Henriksson is relaxing in the bar (2002)
43 THE.BARRIER.SPOT. (2004 / 2006) A really rad little spot built on a dead end industrial street around the corner from Savanna Side. After the death of Savanna Side we started to spread out to little spots around the city and we had several projects going on next to each other. The barrier spot came to a quick end after the city decided that it was not a good idea to have skateboarders close to the rail road tracks… Plus maybe they needed the street as well… So they removed the barriers that closed off the street and started to use it again. Ah well it was an amazing spot and it gave us a lot of ideas that we later brought with us to TBS…
Mattias “Rasta” Hallén
Pontus Alv, wallie melon
44 T.B.S. (2004 / STILL.STAND.STRONG) We started this project by fixing an already existing bank to a wall and not much was going on there. We built a bank to a wall and a china bank. In the spring of 2009, I decided that it was time to turn TBS into a next level spot. I added a bunch of features to the spot and until this day I am still building, adding things to it each season. It is my favourite spot in the world to skate.
Johan Linรถ Waad, fs noseblunt-slide
45 STEPPE.SIDE.PART.1.(2004 / 2007) Born out of the frustration from the loss of Savanna Side, me and my good friend Taxi Marcus decided that we had to build a new spot similar to Savanna Side ASAP. We started a few days after we had been bulldozed and found a new location closer to the city. Another abandoned old factory became out new base. We built the first part in four weeks and then added on things over the next couple of years. This place saw a lot of drama due to the homeless situation in the city. When Savanna Side got bulldozed, a lot of the homeless people moved into Steppe Side. There was already a solid group of people living there but over the years the land once again got out of control. The city had to react to this so called problem and once again the landowner had to clean up the land. This time we were well prepared for the situation and naged to talk to the landowner and he let us stay there bowl. Of course this created a lot of heat between us neighbours and in the end they smashed the bowl into
we mawith our and our pieces.
We had to stay low for a while and let things cool down before we went back and renovated the bowl and made it into an amazing piece (the blue period). Everything was too good to be true and once again we got attacked by our old neighbours and they really destroyed this time.
caption
We’d had enough‌
Marcus Olsson fs pivot while Tobias Henriksson is balancing on the edge (2004)
Daniel Hakansson, blunt fakie
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Sibbarp.Skatepark.(2008)
This is not a DIY project but it was built with a DIY spirit. The city gave us the opportunity to build a skatepark from scratch. We designed it as we went along, together with Malmรถ City, Bryggeriet skatepark, Concreatures and Carhartt WIP as a sponsor. We created a very unique place, a different style of park that has inspired many other parks around the the world.
John Magnusson, bs ollie
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STEPPE.SIDE.PART.2 (2010 / STILL.STAND.STRONG)
In the spring of 2010 the Savanna Side/Steppe Side crew along with concrete park builders started to dig a hole over at the Steppe Side land. It ended up being a round, deep pool known as “The Hole”. A lot of people helped out, and within 8-10 weeks we had an upper street transition area and the place quickly became our new spot.
Pontus Alv & Johan Linö Waad, wallride nollie out & fs nosegrind
Marcus Olsson, bs smith over the deathbox in the Hole (2010). This thing is not easy to skate.
Big thanks to all the skaters that have been helping out over the years mixing concrete and giving all they got to create a rad scene here in Malmö. A big thanks to Bryggeriet skatepark for always supporting the projects and doing all they can in their power to create an amazing place to skate.
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PRODUCTS
CARHARTT WIP X POLAR SKATE CO. L/S T-SHIRT
100% Supima Cotton ‘Tucker’ Black Denim, 6 oz Two chest pockets Easy angle pen pocket Contrast suede insert at back yoke and back sleeve Carhartt WIP and Polar Skate Co. square suede label Carhartt WIP loop label and Polar Skate Co. label inside neck XS-XXL Available in Navy blue
CARHARTT WIP X POLAR SKATE CO. T-SHIRT 100% Cotton Single Jersey, 175 g/m2 Graphic print Sport label on bottom band XS-XXL Graphic design: I STEFAN NARANCIC II STEFAN NARANCIC III JACOB OVGREN
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Photographs: IV NILS SVENSSON
CARHARTT WIP X POLAR SKATE CO. BOARDS (Canadian maple) I ALV BOARD Graphic design by Stefan Narancic Size: 8,375 inch PSC exclusive shape
II CAMPBELL BOARD Graphic design by Nils Svensson and Pontus Alv Size: 8,125 inch PSC exclusive shape
III HALBERG BOARD Graphic design by Nils Svensson and Pontus Alv Size: 8,5 inch PSC exclusive shape
Detail: each board comes with a top and bottom graphic
CARHARTT WIP X POLAR SKATE CO. WATCH HAT 70 / 30% Cotton/Merino Wool, 12 gauge Stretchable rib-knit fabric Polar Skate Co. square suede label and Carhartt WIP flag label One size
IV JURAS BOARD Graphic design by Jacob Ovgren Size: 8,25 inch PSC exclusive shape
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PRODUCTS
CARHARTT WIP X POLAR SKATE CO. VEST 100% Cotton ‘Dearborn’Canvas, 12 oz Water repellent fabric / Quilted lined 3M Thinsulate® insulation / Rib-knit collar Easy angle pen pocket Contrast suede insert at back yoke Front closure with double way zip Kangaroo pockets Carhartt WIP and Polar Skate Co. square suede label Special label inside neck Comes with a black Ballograph® Epoca Ball Pen XS-XXL Available in Navy blue
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CARHARTT WIP X POLAR SKATE CO. BALLPEN Black Ballograph® Epoca Ball Pen Black ink Special branding Body of CAP plastic Lifetime guarantee on the mechanism Refillable ball-pen Made in Sweden
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