PARALLEL STREETWEAR PROCESS BOOK, FOR ACCD MFA IN GRAPHIC DESIGN PROGRAM, SPRING 2022 by Huayue Zhang

A THESIS PROCESS BOOK, FOR ARTCENTER COLLEGE OF DESIGN’S MFA IN GRAPHIC DESIGN PROGRAM, SPRING 2022.

“STREETWEAR DIDN”T JUST DISRUPT FASHION, IT

-ZEITGETST magazine

“ストリートウェアはファッションを混乱させるだけでなく、それを民主化しました。 ”

IT.”

ആമുഖം INTRODUCTION 06 Thesis Statement Thesis Summary

การวิจย ั RESEARCH 60 Inspiration & References Insights History Field Research, Fairfax, Los Angeles Relationship with Pop Arts Case Studies From X-Large to Supreme Subject Matter History of Asian American Current Social Problems Field Research, ChinaTown, Los Angeles

サイテーション CITATIONS 230 Bibliography Attributions Contributors

프로젝트 PROJECT 18 Documentation Identity Design Applications

trích dẫn

DEVELOPMENT 192 Explorations & Sketches Expanding and Narrwing Revisions & Refinement Application Development & Expansion

我

THE THESIS AUTHOR 234 About Links Contact Information

THESIS STATEMENT THESIS SUMMARY

RARALLEL is a brand that leverages streetwear as a powerful medium for democratization to promote, contribute and protect the rights of Asian communities in Los Angeles, with the aim of reducing hate crimes through empowerment, collaboration, and awareness.

陳述 THESIS STATEMENT

This is an urgent moment in history. According to an NBC news article, “AntiAsian hate crime[s] increased 339 percent nationwide last year.” Hate crimes targeting the Asian American community have reached unprecedented levels during the coronavirus pandemic. This misplaced anger is largely based on a misunderstanding of Asian culture. As an Asian American designer, I believe that this is my mission, to stand out and contribute to the Asian art and design community. My goal is to educate people on the right way of understanding my culture and also express that culture nationwide. Parallel is a brand that leverages streetwear as a powerful medium for democratization to promote, contribute and protect the rights of Asian communities in Los Angeles, with the aim of reducing hate crimes through empowerment, collaboration, and awareness.

while empowering each other to show solidarity and safeguard our rights. Systemic oppression that racism is based on makes races inherently unequal in reality, and that reality should be addressed in the pursuit of racial justice. My thesis creates an opportunity for me to benefit the Asian community in America to reduce hate and crimes in Los Angeles. Why Streetwear?... Streetwear opens new opportunities for the fashion world and injects possibility and creativity into the entire fashion industry. It gives people the right to define fashion from their own perspective. An article by ZEITGEIST magazine said, “Streetwear didn’t just disrupt fashion, it democratized it.” It could be a pair of Jeans originally created as practical workwear; it could be a bomber jacket originally designed for the US Army in WWI. When we deconstruct the word streetwear, it means everyday people bringing something traditionally not belonging to anything that does not belong to the fashion world and then turn it into a wearable symbol.

Anti-Hate is also the reason I established Parallel streetwear in Los Angeles. Parallel is a place that creates an opportunity for Asian Americans to come together and be a part of a community

The visual development behind Parallel is unique and thoughtful. I used archetype press as the primary technique to create the virtual system around the brand. This traditional moveable technique was

invented in Eastern Asia around AD 1040, and archetype presses can provide a perfect texture and style related to Asian culture. The logomark is made by two capital letters, “P” and “L,” and the lockup of the logomark represents the fist grip hand gesture. The first grip has a meaning of respect in Easter Asian culture; I wish to use this logo to give the brand a respectful and friendly voice for expressing the Asian culture with a welcoming tone. Also, I used archetype press to develop patterns, T-shirt prints, icon graphics, etc. The pattern is inspired by three Chinese characters,

and each character represents “food,” “artists,” and “clothing.” These patterns will be used separately on different applications. I also used different elements to create icon graphics that represent “artists, musicians, chefs, etc.” The iconography will make sense when they lock up with the Parallel logomark. Streetwear is a medium that contains social and community impact. It will be meaningful and interesting when we combine streetwear and Asian culture to reduce the rate of Anti-Asian crimes. This is an opportunity to leverage

streetwear as a powerful medium for promoting the contributions and protecting the rights of Asian communities in Los Angeles with the aim of reducing hate crimes through empowerment, collaboration, and awareness. I chose the earth tone ash black, and light gray with three high contrast green, yellow, and orange colors. The earth tone gives the brand a sense of friendliness and respect. The high contrast color provides the brand with an emotional feeling that matches the street culture.

Noto Sans is the perfect font family for Parallel streetwear on font choice. Noto Sans supports multiple languages with different weights. Parallel wish uses pattern and T-shirt prints to express the culture and Asian culture characters. Therefore, bilingual typography is also a significant element in virtual systems. “In today’s digital world, it means that street style from high-status individuals like influencers, celebrities, and musicians have a huge influence on what we find fashionable. Social media allows anyone to become an influencer or start

their clothing label. In streetwear, it’s the millions of users liking, sharing, and retweeting that determine what the next trend is instead of the fashion elite.” When Shawn Stussy, a street fashion industry OG, talks about his inspiration on streetwear, he says, “I do not follow streetwear.” “Do not follow. Do not copy. Just immerse yourself in whatever culture you genuinely believe in. Anything is possible in street fashion as long as it exists with its purpose. The purpose can be simple as gathering people with the same interests, such as skateboarding, surfing, camping, etc. It can be complex as speaking out to the anger and dissatisfaction of society. Parallel will establish a unique gathering place with multiple purposes, including communicating through entertainment, collaborating through thoughts, publicizing through culture, etc. The whole community space is split into different use of purpose, including 1. Retail store sells fashion products that represent the Asian American culture. At the same time, Parallel sells our products and features other Asian culture brands worldwide. 2. Collaborating studio, for people from different backgrounds to come together and work for the fashion pieces or communicate. Artists can work together on great arts and designs that help the Asian American community earn ethnic pride in the studio.

3. Exhibition showroom for supporting Asian American artists who also could contribute to educating locals with cultural perspectives. 4. Entertainment event room, gathering people around the community, providing activities to unite people and let them enjoy what the brand can bring joy to our family. The entertainment includes live house djing, community speech, symposiums, etc. As a Chinese American who immigrated to the United States at the age of 16, I have witnessed the position of Asian culture in the United States, a country of immigrants, over the past ten years. These cultural exports are reflected in various aspects, such as Kung Fu Panda, Panda Express, the Spring Festival collaboration with high-end clothing brands, etc... When we compare Parallel with other streetwear brands, it brings in the fashion or people’s interests together and provides a community for our people to communicate and unite together. The power of cohesion would make each individual stronger and gain rights and protection by holding each other’s hands. This is

not limited to achieving human rights but also includes expressing our authentic culture around the community and helping the rest of the world to understand our culture in a better way correctly.

Join and support Parallel and enjoy what Parallel brings and creates for our community.

DOCUMENTATION IDENTITY DESIGN APPLICATIONS

ロゴ LOGO

The logomark is made by two capital letters, “P” and “L,” and the lockup of the logomark represents the fist grip hand gesture. The first grip has a meaning of respect in Easter Asian culture; I wish to use this logo to give the brand a respectful and friendly voice for expressing the Asian culture with a welcoming tone.

The logotype is available as a dark version and a light version. Either version can be used to suit the needs. When placed over backgrounds of solid color or photography, care should be taken to ensure sufficient clarity and legibility.

色 COLOR

I chose the earth tone ash black, and light gray with three high contrast green, yellow, and orange colors. The earth tone gives the brand a sense of friendliness and respect. The high contrast color provides the brand with an emotional feeling that matches the street culture.

PANTONE: 447 R55 G57 B56 HTML 373938

PANTONE: 663 R229 G225 B246 HTML ESE1F6 PANTONE: 394 R238 G236 B70 HTML EEEC46

PANTONE: 2270 R45 G200 B80 HTML 2DC850 PANTONE: 394 R255 G104 B0 HTML FF6800

字體 TYPROGRAPHY

Noto Sans is the perfect font family for Parallel streetwear on font choice. Noto Sans supports multiple languages with different weights. Parallel wish uses pattern and T-shirt prints to express the culture and Asian culture characters. Therefore, bilingual typography is also a significant element in virtual systems. In the body text, I used a combination of Inconcolata and Source Code Variable. Source Code Variable has the monospace which is trendy and when we apply this typeface on the poster, it will not take too much attention away from the other virtual elements. However, Source Code Variable can not be read legibly. I picked Invoncolate as the body text font for long paragraphs, articles, etc…

Noto Sans - 18pt Bold Noto Sans ENGLISH

Noto Sans CHINESE 中國

Noto Sans KOREAN 대한민국

Noto Sans JAPANESE ジャパン Noto Sans THAI ไทย

Noto Sans MALAYALAM മലയാളം etc...

Source Code Variable

- 12pt Bold

Simil int fugia simendi psandundeste poresci rectem rectur a aut ad esecaborat dolore nisti dolectem

Inconsolata - 8pt Regular Gent maximus aliquat. Tem facias ad ut velit occus dolorio nsequi ipiendit plia con et omnietus quide plictio officiant, temquia ssequis nonsequi officium, eaqui arum que pariatur? Bearunt volor sam fuga. Et volupta tempor maios eius, temquia num laut optat queEventi dem quo bla derro et faciam etur apel is dolorem volenimin rem ut utate se quia nist accuptiuris qui cum volupidi rempore mpore, sunditi occusdae litatem denit verecus veni officia sunt esse pere ratet as mod qui consequi audam, omnis qui ommolest, sit eos aces arume dolum

パターン PATTERN

I used archetype press to develop patterns, T-shirt prints, icon graphics, etc. The pattern is inspired by three Chinese characters, and each character represents “food,” “artists,” and “clothing.” These patterns will be used separately on different applications. I also used different elements to create icon graphics that represent “artists, musicians, chefs, etc.” The iconography will make sense when they lock up with the Parallel logomark.

Chef

Artists

Streetfood

應用 APPLICATIONS POSTERS

FLOOR PLAN

RETAIL SOTRE COLLABORATING STUDIO EXHIBITION SHOWROOM ENTERTAINMENT EVENT ROOM TAKE OUT STREETFOOD DEPARTMENT

The whole community space is split into different use of purpose, including 1. Retail store sells fashion products that represent the Asian American culture. At the same time, Parallel sells our products and features other Asian culture brands worldwide. 2. Collaborating studio, for people from different backgrounds to come together and work for the fashion pieces or communicate. Artists can work together on great arts and designs that help the Asian American community earn ethnic pride in the studio. 3. Exhibition showroom for supporting Asian American artists who also could contribute to educating locals with cultural perspectives. 4. Entertainment event room, gathering people around the community, providing activities to unite people and let them enjoy what the brand can bring joy to our family. The entertainment includes live house djing, community speech, symposiums, etc. 5. Take out streetfood department, expressing one of important cultures, food culture, to the community.

POSTERS Grand openning poster for the streetfood department

Grand openning poster for the Asian American artists exhibition

Grand openning poster for the streetwear retail store

Sandra Miju Oh Stop Asian Hate speech act at PARALLEL

Panic City Friday Night DJing at PARALLEL

FLOOR PLAN

2D Floor Plan

3D Model

Collabration Studio

Retail Store

PARALLEL White Shirt

Folded Packaging 46

Sandra Oh Collabration T-Shirt

Panic City Collabration T-Shirt

Streetfood T-Shirt

Parallel Hoodie

Exhibition Room

Entertainment Room

There is a big sliding door between Entertainment Room and Exhibition Room. Two spaces can separate or combine as the event is needed.

Storage 3D Model

Take-out Streetfood Department

Utensils

Togo Box

Boba Tea

PARALLEL Coupon Envelope

Ice Cream Bowl

RESEARCH, HISTORY, CASE STUDY, FILD RESEARCH, ETC.

過去到現在 PAST TO PRESENT At the beginning of the research phase, I started figuring out what streetwear has been through until now.

The Trash and Vaudeville1 clothing store at St Mark’s Place in New York’s East Village. 1 Trash and Vaudeville is a store located at 96 East 7th Street between Avenue A and First Avenue in East Village in Manhattan, New York. The store is associated with the clothing styles of punk rock and various other counter culture movements, and has been a leading source of fashion inspiration since its inception by owner and founder Ray Goodman in 1975.

“In 1972, in Jersey City, teenager Ray Goodman opened a head shop and clothing store inspired by the counter culture. He name the store Trash and Vaudeville. It only lasted six months, but the journey had begun. Three years later Ray relocated to New York and took over an old hippie store in St Mark’s Place, the East Village’s most famous and counter-cultural street thanks to record stores, tattoo/piercing shops, bootleg mix-tape/CD exchanges, Kim’s Video and Music store, skaters, and the Electric Circus nightclub whose visitors included The Velvet Underground Grateful Dead, Hendrix, and Sly and the Family Stone. The location of the store remained the same for over forty years, though the city around it changed almost beyond recognition. Though it has now moved to East 7th Street, Trash and Vaudeville is one of the last remaining authentic streetwear shops in the whole of Manhattan... and probably the world.”1

“You have to be that piece of New York history, that little destination, that little Mecca. That’s what keeps it going. It’s been hanging here and selling here with its authenticity for 33 years. you smell it, the history in the walls.” Jimmy Webb, Trash and Vaudeville manager

The streetwear culture in American can start in New York City around the 1970s, which was the period that the punk movement started. From the historical picture of Tash and Vaudeville, we can see that at the beginning, the style or customizing clothing were mostly purchased by punk people.

1 From the book This is not fashion, Streetwear, past, present and future.

Nicole Craine for The New York Times

Trash and Vaudeville

“ I think what grew out of New York was thrift shopping. ‘cause it’s not cool to buy expensive shit. That talks about your credit card rather than how cool you are. Thrift store shopping is something that’s cool. I’ve been doing it since I was 12 years old. Just the fact that old clothes are cooler than new ones is very New York.” Mary Jo Diehl, Downtown designer

The punk movement resulted in people customizing their outward appearance by putting hand-drawn words or putting nails on their jackets. Customizing had a significant influence on later how the process made streetwear appearances.

커스터마이징

CUSTOMIZING

“I think street-related sub-cultures are more a part of a media wish these days than any kind of real phenomenon. Before punk there were Teddy Boys and hippies (and I would say that was a real youth culture that still exists in some shape of form now). But since then it’s sort of a mess” Michael Kopelman, UK director, Stussy

On the other hand, the public fashion aesthetic from the 1970s is all about wearing the perfect outerwear to show social status and wealth level. Back at that time, wearing like punk (streetwear) was an action that challenged public beliefs.

The idea of customizing outward appearance continued until the end of the 1970s when American hip hop started.

千九百八十 1980 The idea of customizing outward appearance continued until the end of the 1970s when American hip hop started.

With the development of fashion and society. American fashion starts to adapt the idea of wearing casual than before. The fashion trend is not the only factor that drove this but I want to look more into the society perspective. The 1960s were a decade of revolution and change in politics, music and society around the world. It started in the United States and the United Kingdom, and spread to continental Europe and other parts of the globe.

LOUD COLORFUL WILD GRAFFITI-STYLE

The 1960s were an era of protest. In the civil rights movement blacks and whites protested against the unfair treatment of races. Towards the end of the decade more and more Americans protested against the war in Vietnam. Many people in the United States thought that Americans had no reason to fight in war that was so far away from home. Female activists demanded more rights for women, whose role in society began to change. The birth control pill and other contraceptives were introduced, making it possible for women to plan their careers and have babies when they wanted them. The 1960s shattered American politics with the assassination of famous leaders. John F. Kennedy, who became the first

Catholic President in American history, was gunned down in Dallas in 1963. When his brother Robert ran for president in 1968 he too was killed by an assassin’s bullet in California. A few months earlier, civil rights leader Martin Luther King, who had done more for African Americans than any other person before him, was killed in Memphis, Tennessee. After World War II people all over the world started working hard and respecting the values they were brought up with. Especially in Europe, it was an era of recovery and rebuilding. In the 1960s many young people started doubting such values. They protested against society and everything that was mainstream. They had hair long and wore unusual and strange clothes.

and the rest of the world danced and sang to rock and roll music. A decade later Bob Dylan (Blowing in the Wind), Joan Baez and other protest singers composed lyrics that showed what was wrong in society . The Beatles and the Rolling Stones started a new era of beat and pop music. In Europe pirate radio stations broadcast from ships in the North Sea. Television dominated the decade as the most important entertainment medium. By the end of the decade almost all homes in America had at least one TV set.

Social change was also reflected in the music of the decade. In the 1950s America

Created by airbrush on Screen Stars T-shirt or on the back of tracksuit.

Hippies at the Woodstock festival - Derek Redmond and Paul Campbell 76

This is an article written by DEIRDRE CLEMENTS/ ZOCALO PUBLIC SQUARE, the article combined the development of fashion with the social environment. It leads to the topic that, what leads American fashion; whether it is the social environment or the real fashion trend.

Why and When Did Americans Begin To Dress So Casually? By BY DEIRDRE CLEMENTE / ZOCALO PUBLIC SQUARE1 AUGUST 5, 2015 10:37 AM EDT

1 Zócalo Public Square connects people to ideas and to each other by examining essential questions in an accessible, broad-minded, and democratic spirit. At a time when our country’s public sphere and our global digital conversation have become ever more polarized and segregated, Zócalo seeks to create a welcoming intellectual space and engage a new and diverse generation in the public square. We pursue our mission by convening events and by publishing ideas journalism. Because democracy is as much a culture as it is a system, we believe that creating meaningful opportunities for citizens to communicate with—and learn from—one another both nurtures and protects it. Founded in Los Angeles in 2003, Zócalo Public Square is an ASU Knowledge Enterprise. We syndicate our journalism to 290 media outlets worldwide and have hosted more than 600 events in 33 cities in the U.S and beyond, including New York, Washington D.C., Chicago, Houston, San Francisco, Shanghai, Guadalajara, London, and Berlin. We are a nonprofit organization that frequently partners with educational, cultural, and philanthropic institutions, as well as public agencies.

I study one of the most profound cultural changes of the 20th century: the rise of casual dress. I study casual dress as it evolved on the beaches of Miami. I study casual dress as worn by the Black Panthers and by Princeton undergraduates. As a professor, I teach seminars on material culture and direct graduate students as they research and curate costume exhibitions, but my bread-andbutter as a scholar is the “why” and “when” our sartorial standards went from collared to comfortable. I happen to own 17 pairs of sweatpants, but I am a convert to casual. As a teen, I scoffed at the wrinkled khakis of my high-school colleagues and scoured the thrift stores of central Pennsylvania in search of the most non-casual clothes I could find—wasp-waist wool dresses, opera gloves, and evening bags. By my mid-20s, I realized I no longer wanted to pry my 6-foot-tall body into uncomfortable clothes and stay in them for hours. While my Clergerie-clad best friend chased down taxis and potential husbands in 3-inch heels, I chose cowboy boots and a pair of overalls that same friend said made me look like an oversized baby. For me, casual is not the opposite of formal. It is the opposite of confined.

As Americans, our casual style uniformly stresses comfort and practicality—two words that have gotten little attention in the history of fashion but have transformed how we live. A hundred years ago, the closest thing to casual was sportswear—knitted golf dresses, tweed blazers, and oxford shoes. But as the century progressed, casual came to encompass everything from worker’s garb (jeans and lumberman jackets) to army uniforms (again with the khakis). Americans’ quest for a low-key style has stomped on entire industries: millinery, hosiery, eveningwear, fur, and the list goes on. It has infiltrated every hour of the day and every space from the boardroom to the classroom to the courtroom. Americans dress casual. Why? Because clothes are freedom—freedom to choose how we present ourselves to the world; freedom to blur the lines between man and woman, old and young, rich and poor. The rise of casual style directly undermined millennia-old rules that dictated noticeable luxury for the rich and functioning work clothes for the poor. Until a little more than a century ago, there were very few ways to disguise your social class. You wore it—literally—on your sleeve. Today, CEOs wear sandals to work and white suburban kids tweak their L.A. Raiders hat a little too far to the side. Compliments of global capitalism, the clothing market is flooded with options to mix-and-match to create a personal style.

Despite the diversity of choice, so many of us tend towards the middle—that vast, beige zone between Jamie Foxx and the girl who wears pajama bottoms on the plane. Casual clothes are the uniform of the American middle class. Just go to Old Navy. There—and at The Gap, Eddie Bauer, Lands’ End, T.J. Maxx, and countless others—t-shirts, sweaters, jeans, sports shoes, and wrinkle-free shirts make “middle classness” available to anyone who choses to put it on. And in America, nearly everyone wants to put it on because nearly everyone considers himself or herself to be middle class. The “why” behind casual dress is a hand-clappingly perfect demonstration of fashion theorist, Malcolm Barnard’s idea that clothing does not reflect personal identity but actually constitutes it. As one of my students put it, “So, it’s not like ‘Hey, I’m a hipster and then I buy skinny jeans and get a haphazard haircut,’ but more like in becoming a hipster, I get the jeans and the haircut.” Yes.

In wearing cargo shorts, polo shirts, New Balance sneakers, and baseball hats, we are “living out” our personal identifications as a middle-class Americans. Our country’s casual style is America’s calling card around the world—where people then make it their own. It is witnessed by the young boy on the Ivory Coast wearing a Steelers jersey and in the price of Levi’s on the black market in Russia. Street styles in Tokyo harken the campuses of Harvard and Yale in the 1950s—tweed sports coats paired with t-shirts and saddle shoes. Casual is diverse and casual is ever- changing, but casual was made in America. As far as the “when” of our turn to casual, three major milestones mark the path. First, the introduction of sportswear into the American wardrobe in the late 1910s and early 1920s redefined when and where certain clothes could be worn. The tweed, belted Norfolk suits (complete with knickers and two-tone brogues) of the Jazz Age seem so formal by our “flip-flops-can-be-worn-everyday” mentality, but these garments were truly revolutionary in their time. As were the sweater sets and gored skirts worn by women. The trend towards casual flowed in one direction, as one period

observer noted in a 1922 article in the San Francisco Call and Post: “Once a woman has known the joys and comfort of unrestricted movement, she will be very loath to go back to trailing cumbersome skirts.” The mass acceptance of sportswear coincided with the consolidation of the American fashion industry, which had previously been disjunctive and highly inefficient. By the end of the 1920s, centralized firms produced designs, worked with manufacturers across the country, and marketed specific kinds of garments to specific demographics. A second milestone towards casual was the introduction of shorts into the American wardrobe. A flare-up in the popularity of bicycling in the late 1920s brought about a need for culottes (looks like a skirt but is actually shorts) and actual shorts—usually to the top of the knee and made of cotton or rayon. Shorts remained time-and-place specific for women (gardening, exercising, and hiking), until the Bermuda shorts craze of the late 1940s, when women turned plaid wool shorts into legit fashion and began experimenting with length. At all-male Dartmouth College in May 1930, the editors of the student paper challenged their readers to “bring forth your treasured possession—be it tailored to fit or old flannels delegged” so that the men could “lounge forth to the supreme pleasure of complete leg freedom.” The students listened. The Shorts Protest of 1930 brought out more than 600 students in old basketball uniforms, tweed walking shorts, and newly minted cutoffs, and introduced shorts into the American man’s wardrobe. With a higher tolerance for different genres of dress and a newfound appreciation for non-constraining garments, Americans moved into the 1950s with more options to self-create than ever before. 80

Fundamental to this freedom—apart from the suburban department store boom and the onslaught of media (magazines, television, film)—is a “unisexing” of our wardrobe, a third milestone on our quest to go casual. While bohemian types wore pants in the 1910s and 1920s, women really didn’t wear them until the 1930s, and it was not until the early 1950s that pants made it mainstream. There were still discussions and regulations about women in pants well into the 1960s.

This is a super cool blog written by ZEIGEIST1, this article totally changed my view and direction on what I should do with streetwear. 1 Zeitgeist, a Seattle-based streetwear brand meets fashion blog meets personal philanthropy project founded in 2019. It might be the Gen Z in us, but we believe you can look fashionable as $%@# while saving the planet, supporting your local community, and speaking out against social issues. Since Day 1, we’ve donated 25% of proceeds from every purchase to a local non-profit or charity organization. Not to mention, we’re like Greta Thurnberg level stressed about climate change. Our sustainable streetwear is made using upcycled vintage clothing, and it’s sewn, distressed, and hand-dyed right here in Seattle. But we aren’t just a streetwear brand, we’re a blog too. Our aim is to educate, not to sell. No pop-up ads, no annoying affiliate links, no biased reviews of #sponsored content, no b$%*&#t.

อิทธิพลของสตรี ทแวร์ที่มีต่อโมเดล ้งเดิม ่ แฟชันแบบดั STREETWEAR’S INFLUENCE ON THE TRADITIONAL FASHION MODEL

Streetwear flips the traditional fashion model on its head. In the past, designers and trend forecasters dictated what trends made it to the runway, buyers determined what styles made it in-store, and magazine editors told consumers what they should and shouldn’t buy during the upcoming season. But now, through streetwear’s predominantly direct-to-consumer model, it’s the consumers themselves who are driving trends... Many streetwear brands sell exclusively through their own websites instead of through traditional retail channels. They also use single product drops (sneakerhead jargon for a product release) instead of following a traditional runway calendar. By releasing a limited quantity

at a set time, brands can increase hype beforehand, ensure scarcity, and create high resale value after the product sells out. Some product drops require potential customers to enter a lottery just to shop for the product. At this point, streetwear is not only the representation of fashion. It has energy in its history and it carries power in today’s world. Like the blog article writes that “it democratized fashion”. Streetwear change what people and how people wear clothing today. In addition, it changed the business world, it gives more opportunities to the public. Everyone can be a designer everyone can sell their own tagging, brands.

“Streetwear didn’t just disrupt fashion, it DEMOCRATIZED it. Today’s digital world means that street style from high-status individuals like influencers, celebrities, and musicians have a huge influence on what we find fashionable. Social media allows anyone to become an influencer or start their own clothing label. In streetwear, it’s the millions of users liking, sharing, and retweeting that determine what the next trend is instead of the fashion elite.” 86

“ストリートウェアはファッションを混乱させるだけでなく、それを民主化しました。今日のデジタル世界は、インフルエンサー、有名人、ミュージシャンなどの地位の高い個人のストリートスタイルが、ファッショナブルであると感じるものに大きな影響を与えることを意味します。ソーシャルメディアは、誰もがインフルエンサーになったり、自分の衣料品ラベルを始めたりすることを可能にします。ストリートウェアでは、ファッションエリートではなく、次のトレンドが何であるかを決定するのは、何百万ものユーザーが好きで、共有し、リツイートすることです。 ” 87

ロサンゼルス、フ

Fairfax1 had grown into the mecca of streetwear, with only Harajuku in Tokyo and Lafayette Street in New York coming close.

1 Fairfax Avenue is a street in the north central area of the city of Los Angeles, California. It runs from La Cienega Boulevard in Culver City at its southern end to Hollywood Boulevard in Hollywood on its northern end. From La Cienega Boulevard (between Culver City and Mid-City) to Sunset Boulevard (between West Hollywood and Hollywood), it separates the Westside from the central part of the city along with Venice Boulevard, La Cienega Boulevard, Hauser Boulevard, San Vicente Boulevard, South Cochran Avenue, Wilshire Boulevard, 6th Street, Cochran Avenue, 4th Street, La Brea Avenue, Fountain Avenue and Sunset Boulevard.

フェアファックス

FAIRFAX,LOS ANGELES I started questioning that if I could get more comparative examples in today’s world. The purpose of this is to test out whether the previous research I found is true and could trace from today’s world. Therefore, I did field research on Fairfax road.

Fairfax Avenue has been an iconic street in Los Angeles for the better part of the last century. The Fairfax Village area has historically been a neighborhood for Jewish immigrants, yet in recent years these humble roots have become less and less visible. Fairfax is now famous for another reason, street culture. These new “street” origins for the block can be traced back 10 years ago to the opening of Supreme and Reserve, which helped turn the block into a low-key hangout spot for skaters and those who represented the culture. This also began to legitimize the area as a viable place to set-up shop. It didn’t take long for landlords to capitalize on these new retail opportunities coming in and the increasing rent costs and leading to the closure of more traditional neighborhood mom and pop shops. Meanwhile, successful openings for The Hundreds, Diamond and Flight Club furthered established the area as arguably the mecca of street culture.

Momentum was building and those close to the Fairfax Avenue has been an iconic street in Los Angeles for the better part of the last century. The Fairfax Village area has historically been a neighborhood for Jewish immigrants, yet in recent years these humble roots have become less and less visible. Fairfax is now famous for another reason, street culture. These new “street” origins for the block can be traced back 10 years ago to the opening of Supreme and Reserve, which helped turn the block into a lowkey hangout spot for skaters and those who represented the culture. This also began to legitimize the area as a viable place to set-up shop. It didn’t take long for landlords to capitalize on these new retail opportunities coming in and the increasing rent costs and leading to the closure of more traditional neighborhood mom and pop shops. Meanwhile, successful openings for The Hundreds, Diamond and Flight Club furthered established

the area as arguably the mecca of street culture. Momentum was building and those close to the block felt a real movement and subculture brewing. These new successes on the block paralleled the increasing success of streetwear as a whole. As a proliferation of new brands appeared in the market, so did the number of men’s clothing stores lining Fairfax. However, the momentum started to spill over beyond just men’s fashion. People interested in the streetwear movement shared other common interests. This led to the opening of relevant art galleries like Known Gallery, Melody Ehsani’s women’s store, Legends Barbershop and gastropubs like Plan Check, essentially making the block a one-stop shop for establishments who largely flew in the face of traditional big box corporate culture. The mainstream transition of street culture in today’s society is clearly visible when you go to Fairfax and see the increase in traffic and tourism. Today, a core part of the block is almost completely lined with spaces that are affiliated with street culture. This popularization of the block has created ambivalent feelings for me; the neighborhood is now a far cry from the hangout spot for those “in the know” as it once was. As I reflected on the current state of Fairfax, questions arose and I wondered how key figures on the block felt about the subject. I had the chance to catch up with a few people who had successful store openings in Fairfax Village: Bobby Hundreds (co-founder of The Hundreds), Brick Stowell (Odd Future’s management) and Dennis Calvero (co-founder of Crooks and Castles). Check out their insights on the infamous block below as we dissect Fairfax’s significance to street culture.

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I took some pictures from the vintage stores; we still can find some clothes that people tried to customize with hand drawing or spray paint.

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I found it interesting during the field research that many streetwear graphic designs carry the pop art style in them. The graphics or illustrations usually redesign popular characters and put them on their clothing line.

大力水手 POPEYE

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스누피

SNOOPY

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ミッキー MICKEY

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ケンチキ KFC

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Pop art is an art movement that started in Great Britain in the 1950s and continued in the US and Britain in the 1960s. It was inspired from sources in popular and commercial culture. Its main period ended in the early 1970s. Dr. Ruth Polleit Riechert

ポップアートとストリートアートの基本 THE BASICS TO POP

ART AND STREET ART

The article is from Kult Art. Since the pop art movement began in New York City in America, there might be relationships between it and the punk movement and street culture ten years later.

What is pop art about? The most important characteristic of pop art is the idea that art can borrow from any source and there is no hierarchy of culture. Reflecting the signs of the times, pop art focused on mass production, celebrity, and the expanding industries of advertising, TV, radio, and print media. The majority of pop artists began their careers in commercial art. Their background provided them with the visual vocabulary of mass culture. As an art movement, pop art incorporated many different styles of painting, sculpture, collage, and street art. Pop art is often bold, colourful, and humorous, and looks rather flat rather than having depth created by layers of colour.

1 Andy Warhol, Campbell’s Tomato Juice Box, 1964.

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1 he Cheddar Cheese canvas from Andy Warhol’s Campbell’s Soup Cans, 1962.

What are the most influential artists and artworks? Richard Hamilton (1922–2011) is regarded by many as the father of British pop art. Jasper Johns (1954/55) painted an everyday object — the American flag — and became a leading figure in the American pop art movement. Roy Lichtenstein (1923–1997) is known for his comic strip cartoon-style paintings, whereas Robert Rauschenberg (1925–2008) is well-known for his Combines collages of the 1950s, in which non-traditional materials and objects were used in innovative combinations. Like many pop artists, James Rosenquist (1933–2017) was fascinated by the popularisation of political and cultural figures in mass media. In his painting “President-Elect”, the artist depicts John F. Kennedy’s face amidst

a selection of consumer goods. Andy Warhol (1928–1987) is probably the bestknown figure in the pop art movement. In the early 1960s, he began to experiment with reproductions based on mass-produced images from popular culture such as Campbell’s soup tins and Coca Cola bottles. In 1962, Warhol created his probably most famous artwork. He created several mass-produced images of the actress Marilyn Monroe (1926–1962), all based on the same publicity photograph. The repetition of the image was representative of her presence in the media.

What happened later? Pop art would continue to influence artists in subsequent decades. However, pop fell out of favour in the 1970s as the art world shifted its focus from art objects to installations, performances, and other less tangible art forms, but with the resurgence of painting in the early 1980s, the art object came back into favour once again. At that time, the graffiti movement developed as one of the continuations of pop art. Since graffiti art is 114

created outside, it is also referred to as “street art”. Public walls is called “mural art”.

115 Harald Naegeli1 – the Sprayer of Zurich

1 In the late 1970s, Harald Naegeli became famous all over the world as the “Sprayer of Zurich”. With his illegal graffiti wall paintings, he protested against the urbanization of Zurich and its monotonous cityscape. Under the cover of darkness, he sprayed his stick figures – mostly nature spirits – on buildings and walls that he considered to be boring. With their elegance and feeling of lightness, the Naegeli figures are instantly recognizable. However, with his artwork, the graffiti artist not only caused a stir, but also soon aroused the interest of the police.

Where are the origins? The origins of street art go back to the 1920s. Around that time in Mexico, political messages were painted on public walls for the first time. In Europe, first graffiti works of art in Paris from the 1930s are known. In the 1960s, street art increasingly developed in the Bronx of New York.

Who are the artists? In the 1980s, the Swiss Harald Naegeli (b. 1939) became known as the “Sprayer of Zurich” because he sprayed black stick figures everywhere in Zurich — and was arrested for doing so. At the same time, graffiti art becomes popular in New York. Artists such as Keith Haring (1958–1990) and Jean-Michel Basquiat (1960–1988) are

known for their work, especially at subway stations. Both artists are still among the most respected representatives of graffiti art. Some of the best-known graffiti art works can be seen in Great Britian, the US, Mexico, and on the former German Berlin Wall. The most famous contemporary street artist, however, is Banksy (b. 1974) from Bristol, England. Nobody knows his real name. Since 2005, his works have been sold at auctions and fetched top prices. Brad Pitt is one of his collectors. Banksy’s street art is now on display in museums.

One more thing I found interesting is how each streetwear store has its unique theme and message. The research leads me to the question of how streetwear started and what makes each streetwear unique. Moreover, I begin to dig into what makes those streetwear brands and what makes that brand successful? The reasons are not only just cool graphic design and popularity.

The following images are also from the field research; they are images that I took from the Ripndip1 flag store.

1 RIP N DIP is one of the fast fashion streetwear brandswas founded in Orlando, Florida in 2009 by skater Ryan O’Connor when he was at a skate camp and made T-shirts for himself and a few friends. After relocating to L.A., RIPNDIP kept oozing street cred in its graphic T-shirts, camp caps, and cut-and-sew collections.

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The research shows that streetwear has inextricable elements from pop art, street culture, and marketing perspective. I continue my research on different artists who are related to the streetwear culture, I found one report that collects by the street culture website, Hypebeast. 1

Hiroshi Fujiwara 2

1 HYPEBEAST is the leading online destination for men’s contemporary fashion and streetwear. Shop at our store and also enjoy the best in daily editorial content. 2 Fujiwara was born in Ise, Mie. He moved to Tokyo at eighteen and became a standout in the Harajuku street fashion scene. During a trip to New York City in the early 1980s he was introduced to hip hop; taking American records back to Tokyo, he became one of Japan’s first hip hop DJs, and is credited with popularizing the genre in Japan. He subsequently went into music producing, specializing in remixes.

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Josh Luber 3

Daniel Arsham 4

3 Joshua Eliot “Josh” Luber (born February 18, 1978) is an American entrepreneur and sneaker collector who co-founded StockX, the stock market for things. Luber worked for IBM when he founded Campless, a “sneakerhead data” company that tracked the secondary market for sneaker sales. Campless then morphed into StockX, which is an online marketplace for high-end product resale. 4 Born in Cleveland, Ohio and raised in Miami, Florida, Arsham was 12 when Hurricane Andrew destroyed his home. This traumatic event has been a continuous theme through his work.[1] Arsham attended the Design and Architecture High School and was awarded a full scholarship to The Cooper Union in New York City.[2] He received the Gelman Trust Fellowship Award in 2003.

스트리트웨어 영향 보고서 STREETWEAR IMPACT REPORT By HYPEBEAST

This article is part of the Streetwear Impact Report . The report includes data collected through two main research methods: our consumer survey and industry survey. Full description of methodology can be found in the Introduction. The report is split into four articles. 001 Defining Streetwear details streetwear’s origin and key cultural components. 002 Measuring Streetwear reports consumer spending habits and preferences. 003 How Streetwear Talks traces the communication loop between consumer and brand. 004 How Streetwear Sells dissects streetwear’s tight-knit direct-toconsumer relationship and retail model. Visit the Executive Summary for a full overview.

How Streetwear Redefined Exclusivity

Before the term streetwear was officially coined, the movement was already flourishing via small exchanges on downtown streets. Initiation to the streetwear club came by way of a simple nod: a passerby spotted your sneakers and you spotted theirs. Uptown, there were similar exchanges occurring — except the buy-in was the most expensive of luxury handbags. Simply put, streetwear is fashionable casual clothes: T-shirts, hoodies and sneakers. But this surface definition of streetwear underplays a model that has single-handedly subverted the traditional fashion system by redefining its main component: exclusivity. Both traditional luxury fashion and streetwear depend on their positions as cultural status symbols in order to drive demand. However, as the Streetwear Impact Report reveals, new factors like casual clothing and community have been integral to establishing streetwear’s dominance. Whereas traditional luxury fashion largely derives its exclusivity from a

high price point, streetwear’s exclusivity is contingent on know-how. Particularly with early streetwear, very few consumers knew what to buy and even fewer knew where to buy it. This insider game set the foundation for a model that would be easily elevated to the level of luxury. Streetwear emerged as an antidote to wider fashion trends, stemming from countercultures like skate, surf and hiphop. It also opened the floodgates to a demographic that was previously “not allowed” to show an interest in fashion: men.

leverage drops to keep supply of a new product strictly below demand. In turn, the product will experience high-sell through; appear on the resell market; and feed more demand. What results is a market in line with the sale of contemporary art or collectible luxury goods, except the item in play is a sneaker not a diamond. Sneakers and other high-demand items take on a timeless and season-less value that far surpasses the cyclical and short-lived life cycle of many fashion trends.

What began as a largely underground movement rose quickly to main street and unleashed what the fashion world was craving but not finding: a fresh take. Impacted were all facets of the industry’s creative development, marketing and distribution. Streetwear creates an almost cult-like, tight-knit relationship with its consumer and perfects the direct-to-consumer model that the wider industry had been desperate to crack. Many popular streetwear products can only be purchased directly from a brand through the “drops” model: customers are rallied to be the first online or in-store to secure products that are released at a particular place and time.

Fragment1 by Hiroshi Fujiwara

The drops model, which leverages scarcity and limited production to create high demand, has resulted in the birth of a booming secondhand market. This resell market is integral to how streetwear works, as it serves as a metric for a brand’s success: the more valuable a product, the higher its resell price tag. Transparency allows streetwear to operate on a pure equation of supply and demand. If mastered successfully, a brand will

1 fragment design is a multidisciplinary imprint by Japanese designer Hiroshi Fujiwara. fragment design enters many highly hyped collaborations with brands such as Nike, Jordan Brand, Converse, Levi’s, CLOT, Carhartt WIP and NEIGHBORHOOD for a variety of sneakers and menswear pieces.

The ultimate driving force behind streetwear is its spirit. Core streetwear consumers do not have limitless income to spend. What they do have is the ability to create exclusivity tied to something much more potent than money — authenticity. Whereas most fashion labels struggle to redefine themselves every few years to remain relevant, streetwear evolves organically by staying close to the ground. As a result, more and more traditional fashion brands are trying to capitalize on streetwear’s particular brand of cool. The undeniable cool and practicality that drives streetwear becomes highly marketable across a range of price points and it sells. For brands who play their cards right, tapping into this mindset can be extremely profitable.

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But to do so is not easy. The streetwear follower is young, resourceful and discerning. They have extremely high expectations of brands and are capable of seeing through inauthentic attempts at tapping into their culture. The streetwear follower is vocal and has tools, namely social media, to amplify their opinions and distinctly influence trends. The streetwear consumer has as much power as an industry insider to determine what’s popular. The fashion industry has typically operated a top-down model: industry insiders act as gatekeepers to the newest styles and trends. Streetwear has turned this model upside down, subverting the formula with a more accessible, democratic one. The streetwear consumer is also skeptical, namely when authenticity and creativity is a front to hit corporate benchmarks. This is why, above all, the

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streetwear consumers trust true creators — survey results reveal consumers consider musicians the most credible figures in streetwear, far above industry insiders. The face of streetwear continues to evolve and today, streetwear appeals to a much wider audience. In newer, international markets like China and Korea, some of the key components that drive streetwear have shifted. Meanwhile, consumer respondents in Asia overall reported a higher average spend than Western consumer respondents. By far, Japanese respondents reported the highest average spend per streetwear product. Brands — ranging from legacy luxury houses to mall retail brands — now routinely include streetwear as part of their offerings. Once restricted to select brands producing T-shirts for a niche audience, streetwear’s mindset can now be adopted by any company and appeals to a wide demographic. While interpretations of the style are wide and diverse, the original codes of streetwear still persist, and they are the driving force behind the larger market.

These codes are dependent on community, authenticity and a rejection of traditional cultural authorities. The distinction between contemporary streetwear and the fashion industry at large does not come down to a sneaker versus a handbag, but to who is driving the taste-making. Ultimately, streetwear is driven by a series of factors that are unprecedented in fashion: men showing interest in style, casual clothing taking a front row seat and the luxury elite bending to the taste of popular demand.

藤原ヒロシとのハイプビーストインタビュー HYPEBEAST INTERVIEW WITH HIROSHI FUJIWARA

What is streetwear for you? How would you define streetwear? Hiroshi Fujiwara: The first thing that caught my attention in streetwear was the skate label Vision — clothes for skaters. The street fashion I envision comes from skateboarding. Skateboarding was a sport you did on the street, so I think that’s where it comes from, originally. The street was the arena for skateboarding, so that’s probably why the word “street” was used often. Of course other brands such as Stüssy (surfwear brand) were also around back then, but as for streetwear, it started with Vision. I feel like other brands weren’t referred to in the same way.

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It’s possible all skateboard wear was called streetwear, and that’s because a category for street skating was created within skateboarding itself. If you surfed, then you wore surf wear, but I believe the word skate wear wasn’t used so often and instead it was streetwear. How has the definition of streetwear changed? If you’re talking about the origins, then I think what we call street fashion now has naturally flowed on from skateboarding; but the current reality is different. It feels like a sneaker culture now; sneakers and hip-hop culture have become the street culture.

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How were you involved with street fashion in the 80’s? What was your role in bringing streetwear to Japan? I wasn’t intending to bring street fashion to Japan, I was simply just introducing the things I liked. That includes items from Tiffany, documentary films from Japan, and various other things. It just so happened one of those things was skateboarding – that’s all it was. What is your view on streetwear’s role in the luxury fashion industry? In terms of streetwear and luxury fashion, I think it’s a case of being used by and using each other. I don’t think luxury fashion and streetwear will ever be one and the same in a real sense, and they shouldn’t either. I feel it’s better if the big names become bored with what they call street fashion and move on to the next trend, or it’s picked up by somewhere else. Do you think luxury fashion brands can authentically be part of the streetwear movement? Or is what they’re doing something different? I don’t think they (luxury fashion and street fashion) are actually fused together that much either. What everyone seems to think is streetwear that is uniquely street fashion – such as myself maybe or perhaps Virgil (Abloh) or Kim (Jones) – those three are definitely not street fashion. To put it more clearly, I’d look at something like Gucci. It may look like a fusion between luxury fashion and street fashion, but what the average person thinks is street fashion is not what I consider to be street fashion. You collaborated with multiple fashion players, amongst others with Nike, Converse,

Levi’s etc. Which criteria are relevant for you to engage in a collaboration? Is there a specific company still on your bucket list? There is none in particular, it just depends on the timing and people then. Maybe someone has an interesting personality, or there is something appealing about them; I’d say one criterion is to be doing something that’s exciting and fascinating. What is streetwear for you? How would you define streetwear? Hiroshi Fujiwara: The first thing that caught my attention in streetwear was the skate label Vision — clothes for skaters. The street fashion I envision comes from skateboarding. Skateboarding was a sport you did on the street, so I think that’s where it comes from, originally.

HYPEBEAST INTERVIEW WITH DANIEL ARSHAM ON POPULAR CULTURE INFLUENCE

대중 문화 영향에 대한 다니엘 아샴과의 HYPEBEAST 인터뷰

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What is streetwear for you and how would you define the term? Daniel Arsham: For people of my generation, and friends of mine, streetwear is just the stuff that we grew up with. The brands that we grew up with, the things that we wore in high school, basically, would be the easiest way to

define it. Those are the moments in your life that you find yourself, and find ways of expression through the things that you associate yourself with. And obviously, clothing and sneakers, that was a big part of our youth. How do you see streetwear now in relation to the fashion and art industries? I think what we would have called streetwear back in ‘96, there are still brands that do that, but there’s also much more high-end brand that call what they do streetwear, even though it’s not really what they’re doing.

I think the largest thing that I always thought about was, streetwear was a brand that had an ethos and really a person behind it, who was driving the scene around it. And it was a collection of people with like-minded ideas, whether they shared music interests, or whatever it was. Maybe not so much now, but before, when you talked about streetwear in contrast to high-end fashion, there was a level of authenticity that was prevalent within it. So what does that mean for what’s happening now? Can a luxury brand who is, for example, selling a hoodie authentically be part of streetwear? Well, those brands have also evolved in terms of their creators. I mean, Kim Jones from Dior has a background in fashion, but he also he came out of a scene 128

in London that was doing, in the ‘90s,

what we call streetwear today. Streetwear is just happening on a wider scale now, and it’s much more easily shareable, so we feel like it’s amplified. I think, at least friends of mine, people that follow what I do, they know what’s what. And even if they can look at a luxury brand that’s doing it, they know that it’s streetwear, in quotes. It’s not exactly the same. Do you feel you’ve influenced the streetwear movement? I think certainly Snarkitecture’s partnership with KITH has had a wide influence on the way that people think about what the retail experience should be, and we certainly see that going all the way up to the top. That experience is important, that even though you’re not necessarily a luxury brand, KITH will put the resources toward making a space that competes physically on that level. It’s like again, this idea about creating something that’s for us. Your collaboration with adidas was a pivotal moment in terms of an artist collaborating with an athletic brand. How did you approach the collaboration at the time? One thing that I liked about it, was the ability to reach a wider audience and an audience that doesn’t necessarily go to museums or galleries. And doesn’t have access in that way. And it’s one of the reasons why we put the mini gallery inside Kith as well. The art world has a tendency to feel a little bit hard to enter from the outside if you’ve never been or you just didn’t grow up in that kind of culture. And part of it is because artwork takes

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a lot of effort and a lot of time to create and there’s a respect that needs to be given to that. My involvement with the projects that I’ve done with adidas and the sneakers I have created, allowed me to bridge those audiences. Who is your art for? You have a large following on Instagram and a large part of them can’t afford to buy the art you’re creating. So how do you see your relationship with people who follow your work? That’s the thing about artwork, is that you don’t have to own the thing to be part of it. There’s a lot of exhibitions that are free. The last show that I had at Perrotin was the most-attended exhibition that they’ve ever had. And it was a lot of people that probably never went to a gallery before. So there’s a level of access that’s more egalitarian, by being more inclusive of these larger audiences When I first was talking to my people in the art world about the collaborations that I was doing with adidas, there was heavy skepticism around it: “You’re integrating a brand, and a brand is not about creativity, it’s about generating money,” and all of that. And my position was like, “No, this is the same as what I’m doing.” Ronnie can kind of create a universe around an ethos, an artist does the same thing, and I don’t think there’s any difference. I mean, this is something that Warhol was talking about in the ‘60s. And it only took another 50 years before, in the wider consciousness, it’s accepted.

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In terms of this egalitarian aspect, what do you think that means for luxury brands? Is it sustainable for them to tap into streetwear? I honestly think it’s about authenticity, and you can look at what Demna [Gvasalia] is doing at Balenciaga, whether you like it or not, that’s his world, and he knows it really well. And there’s not only a style there, but an integration of ideas that he has brought with him from his experience in the past. And I think all of these different entities have brought in pretty top level people. Virgil, and even looking at Kim’s last show at Dior, there was this collaboration with Raymond Pettibon, but the whole show was highly tailored and a mixture of things, and I think that’s what he does, is he pulls influences from his own experience, his travels, people that he’s met, and he looks at it through a certain lens, and it’s his vision of that. When thinking about your audience, or the streetwear audience, who do you see them as? It’s a pretty broad range and it’s also pretty global. If I go to Tokyo, there’s going to be the same audience as a show here in New York City. I think it’s generally people that are interested in thinking about their everyday and going back to integrate some of these ideas into the work. A lot of the Future Relics and the objects that I’ve been working through are also kind of bringing in these cultural touchpoints that were relevant to me. There’s again this hesitation within a lot of the art world community about accepting, more like this branding idea, that those things can be relevant. The way that I’ve looked at it is, if I went 100 years in the future, and I looked back at these things, you wouldn’t separate these two entities, right? You could

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look at what I’m doing — Tom Sachs is somebody certainly who’s also in this or Takashi Murakami — and maybe you might think of them the same way that you think of a Nike or a Dior. They’re cultural producers of objects and things that engage people in their everyday lives. Thinking about this idea of a sneaker as a bridge between your work, or museums and an audience. How do you see that applying to fashion? Do you think streetwear is that answer to luxury fashion? I think that there are a lot of people who go see art. And that’s part of their identity. They associate with themselves, the same way that what you wear changes the way you feel and how you present yourself. Being a person who is engaged with culture in that way can be part of your identity. And certainly the same way that people might want to share an experience or type of clothing that they have, or being inclusive, almost like tribal in a way, they would also share an experience that they’ve gone and seen in the exhibition. How important are collaborations to you and your work? This is not often brought up in relation to my work, but the beginning of my career I worked as a stage designer for Merce Cunningham, who, starting in the 1950s, based his entire practice out of the idea of collaboration with musicians and artists. And he worked with Warhol and Rauschenberg, and Jasper Johns and Duchamp, basically the most important artists of the 20th century. His idea about collaboration was finding things, and taking risks that artists might not otherwise, if they were left to their own choices. He took it even a

step further by saying: “Not only am I going to make this collaboration, but I’m not gonna know what you’re doing until the premiere.” So he would make his choreography, an artist would make the set, a musician would make the score, but none of them knew what the other one was doing, and it was the idea about removing his own taste, the things that he gravitated towards. He allowed them to be much more chance-based. And certainly, this idea of collaboration has become a little bit of a buzzword, but that’s just what I started in, and it’s been part of the ethos of my practice from the beginning. In terms of sharing your work, what platform or channels do you feel are most important, whether it’s digital or physical? Nothing beats seeing the work in real life. People are often surprised when they may finally see a work. In person, there’s just a different level of craft to it and these things are considered on a three-dimensional basis. When you’re looking at a screen, obviously you can tell if something’s physical, but how the light carries, and what the sound of the space is, and what it smells like in the room, and all of these other aspects that are pretty tightly controlled.

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മാസ്റ്ററിംഗ് സപ്ലൈയും ഡിമാൻഡും സംബന്ധിച്ച് ജോഷ് ലൂബറുമായുള്ള ഹൈപ്പ്ബീസ്റ്റ് അഭിമുഖം HYPEBEAST INTERVIEW WITH JOSH LUBER ON MASTERING SUPPLY AND DEMAND How would you define streetwear? Josh Luber: Bobby Hundreds has a quote that’s often used to describe streetwear that says something like, “Sales, distribution, and image are what constitutes a brand of streetwear.” I suppose there’s some truth to that, just tactically the method of how we’re delivering certain products. I think it’s relevant for how people describe it to us, to StockX, in that we’re not a streetwear brand. However, we sell many and we’re a marketplace and now the largest marketplace in the world for perhaps the most famous streetwear brand of all time, Supreme. For certain streetwear products, StockX is the distribution platform.

There used to be this idea that streetwear was scarce but low quality. That was what made it, just the scarcity and the low supply and the very local nature of it was what made it valuable. Just when basically every brand these days is trying to figure out the balance in the supply and demand continuum of where to play in the scarcity equation. My view on the whole thing is that it’s a very personal expression of whatever that designer wants to create. I think the long-tail of creative expression within clothing is a fun thing. That is only a newer thing because the manufacture of clothing is not a simple thing for everyone to do. But it’s become easier. How has streetwear changed? Where do you see it now? I think it’s become a more ubiquitous term to reference anything that’s not a traditional brand. It’s everywhere you’re dealing with that scarcity concept of supply and demand, and all of

it ultimately is some desire to express yourself in what you’re wearing and to wear something that is uniquely chosen for you. I think streetwear is just a different place in that continuum in supply and demand and ultimately price. High fashion is just because of what it is, usually associated with the very historic design houses and high price points. But is that line clearly very blurred? Certainly it’s very blurred on the price point. It’s no longer necessary to be a low price point or low quality for streetwear. That’s the key to that. Streetwear now can be as high quality and high price point as the fashion houses. That line is completely blurred as the customer is completely blurred. Ultimately, those products are satisfying the same thing: which is a unique expression of that person of what they want to wear. Streetwear and high fashion both accomplish the same thing; that expression that you don’t get if it’s a blue T-shirt from the Gap. How would you describe StockX and its impact on streetwear? How has StockX contributed to the growth of streetwear?

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StockX is supply and demand. We don’t sell anything and we don’t require people to pay a certain price or create artificial constraints of who can sell or who can buy. What is does is create transparency in the market. Initially, it gave buyers as much information as sellers had. Sellers used to be the only ones that had real full knowledge of the supply that was in the market and what people were actually paying for everything. It’s also about access. On StockX, the consumer is going to actually see all the data and every sale that’s ever happened, every bid, and every app, and everything else. So there’s full transparency into what the market thinks of that price and product. It allows that idea of that true expression of yourself. That’s just the demand piece of it. The supply piece of it we’re not a part of but what we’re doing is giving transparency into the market demand and the market supply. That should hopefully give people greater access and more fair opportunity to buy those products. Where does the demand for streetwear products come from? Is this only due to the transparency or is it also additional

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factors? Demand is a function of so many factors. The brands do everything they possibly can to create demand for their products in terms of the design and who is associated with it and how it’s distributed. But the supply decision is actually part of that. So you get this somewhat circular function where you have a very true supply and demand curve but then because something is limited, it also creates demand on top of that. You get this sort of exponential demand increase when it happens. As soon as supply is greater than demand, that product’s not scarce anymore. So it’s not cool to a certain group who wants that totally unique self-expression. They don’t want to possibly wear something that any person off the street can just walk in and buy. That cool 17-year-old kid doesn’t want to wear the same shoes that my mother wears. In practice it’s not an exact science. Nobody knows exactly what demand is mathematically. Everybody knows what supply is. Supply is however many widgets they’re going to create, how many hoodies or T-shirts they’re going to create. But demand is a projection. StockX is actually true demand. It is tied to someone’s PayPal or their credit card. Which means a seller can actually sell a product to that buyer without the buyer taking any other action. How important are collaborations for brands in creating hype behind products? This is a huge part of sneakers and streetwear and now high fashion. What’s interesting is it’s kind of like pizza. Everybody loves pizza but man, there is amazing pizza and there’s horrible pizza and there’s everything in between.

Customers see through the collaboration for a check or collaboration just because there should be collaborations because everyone’s doing it. Just because something is a collaboration and just because something is limited doesn’t mean that it’s going to be in high demand. When there’s not a reason for it, either a creative reason or a narrative and a storytelling reason, customers see through that pretty easily. It totally makes sense when you’re trying to build an authentic brand. For the fashion houses, this is a relatively new thing, particularly for doing collaborations with streetwear brands. These brands have histories of over a hundred years in some cases, of being true to their own brand. So when they do a collaboration, it’s a really big deal. Thinking about the target audience of streetwear and in particular the people on your platform, is there a typical streetwear customer? Is it a different kind of animal, sellers versus buyers? Sellers are usually some form of small business; people that have been doing this. They’re actively involved in trying to figure out how to acquire the product and what the business is around it. The best part about StockX at this point is, the buyers are starting to become a lot more universal. It used to be exactly who you think it is, which is 14 to 24 young urban male in the culture, lives it, breathes it. But it has very quickly become a lot more. StockX is all about access. So therefore, all of the sudden it could be anyone that is buying and selling. We have this saying, “Streetwear is for everyone.” Streetwear is not about this brand or that brand. It’s about a more authentic expression of what you want to do; what you want to wear. Nobody owns that.

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Do you think that at some point, those people who started this streetwear trend and that love the scarcity of it, are now trying to find a new market moving away due to the fact that it’s become more mainstream? Or is it actually a good thing because now you get the masses and more reach regarding the fact that you have true believers? I think it’s great. Access is a good thing. At the end of the day, just because someone has access to something doesn’t necessarily mean that they will or they won’t wear it. It’s about the personal expression of what they want to do. The fact that they have access, in a lot of cases, going sort of back to Bobby’s statement, it is just the distribution of it that make it hard and makes it challenging. That was just a function of logistics. First of all there used to not be the internet. And it was limited distribution. The only time and place you could get it was at the store or somewhere else. Okay, just a hypothetical question, scarcity was mentioned a lot, people want to be unique. Couldn’t you argue that providing access, providing transparency is a risk for a streetwear movement? Or, making it desirable? What creates the scarcity is ultimately a brand decision. That supply exists. It’s just about access. Because the internet has been around for a while, it’s really just a function of how hard someone would have to work to get something. Or, the position we put them in of not knowing what a fair price is or not knowing what’s real. That’s kind of almost like the underlying rule of what products can go on StockX. It’s things that have finite

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supply. Finite supply could be five or five million. Either way, it’s not a one-of-a-kind item. It’s not something we think of as infinite supply like say, cereal. They will make as many Cheerios as people will buy. Then providing access to it, which can only be a good thing. Where do you think the growth is? Is it in geographies, is this demographic segments, are there further categories? Is there something you could foresee as coming after streetwear? Obviously we’ll continue to go into other categories; whether that’s collectibles or wine, or cars, or diamonds. But specifically with regard to what we’re talking about and streetwear, one hundred percent what we’ll see is the long tail become longer; and more single streetwear brands, single designers being able to create whatever it is, one collection or one piece or one season and be able to sell on StockX. We make that acceptable. If you have a brand and you have a product that fits into that dynamic where it’s finite supply, then it makes sense to be able to sell on StockX. We don’t artificially constrain the products that go on StockX.

It is almost always a function of what our customers ask for. As those streetwear designers, it becomes easier for them to create products and gain awareness through many of the other channels that are great. Like for Instagram, sort of just for mass awareness. We’ll continue to add them, absolutely. Why sneakers? Sneakers are this thing where first of all, it’s a pure supply and demand market. But it’s also art. There’s nostalgia tied to people’s favorite sports teams, tied to their favorite athletes. It’s a design thing. It just hits on so many things. Even if you’re not in the same category, almost everybody has some association with sneakers at some point; whether it’s just for performance or for fashion or comfort or whatever it is. It just touches so many people in so many different ways. That’s a really big part of the growth of the whole thing.

ポップアート POP ART

Virtual research from pop art artists

Since I talked about streetwear “democratized” fashion which gives people confidence in designing their own fashion. This idea is quite similar to what the pop art movement did to the art field. “Pop art changed the perception of art worldwide. Before Pop Art, people regarded art only as specific paintings

or artworks; with Pop Art, things became more diverse. So, let’s take a look at how Pop Art has managed to change the perception of art as a domain...In the traditional style, a model is always needed to spend a few hours on a chair, while the artist makes their portrait. In Pop Art, there is no need for posing. The inspiration comes from ordinary things, everyday objects you have in your house.” (Jack S. Platt) When we compare what streetwear did for the fashion industry with Pop art. Pop art and Streetwear both freed people from the bondage of “high art thought”. It not only bondages the art, but connects all levels of artists, designers together to collaborate with different elements and inspirations.

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ANDY WARHOL

INNOVATIVE TECHNIQUES: Many Pop artists engaged in printmaking processes, which enabled them to quickly reproduce images in large quantities. Andy Warhol used silkscreen printing, a process through which ink is transferred onto paper or canvas through a mesh screen with a stencil. Roy Lichtenstein used lithography, or printing from a metal plate or stone, to achieve his signature visual style. Pop artists often took imagery from other areas of mainstream culture and incorporated it into their artworks, either altered or in its original form. This type of Appropriation art often worked hand in hand with repetition to break down the separation between high art and low art, which made the distinction between advertising and media from fine art.

1 Andy Warhol born Andrew Warhola Jr.; August 6, 1928 – February 22, 1987) was an American artist, film director, and producer who was a leading figure in the visual art movement known as pop art. His works explore the relationship between artistic expression, advertising, and celebrity culture that flourished by the 1960s, and span a variety of media, including painting, silkscreening, photography, film, and sculpture. Some of his best known works include the silkscreen paintings Campbell’s Soup Cans (1962) and Marilyn Diptych (1962), the experimental films Empire (1964) and Chelsea Girls (1966), and the multimedia events known as the Exploding Plastic Inevitable (1966–67).

RECOGNIZABLE IMAGERY: Pop art utilized images and icons from popular media and products. This included commercial items like soup cans, road signs, photos of celebrities, newspapers, and other items popular in the commercial world. Even brand names and logos were incorporated.

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KEITH HARING

1 Keith Allen Haring (May 4, 1958 – February 16, 1990) was an American artist whose pop art emerged from the New York City graffiti subculture of the 1980s. His animated imagery has “become a widely recognized visual language”. Much of his work includes sexual allusions that turned into social activism by using the images to advocate for safe sex and AIDS awareness. In addition to solo gallery exhibitions, Haring participated in renowned national and international group shows such as documenta in Kassel, the Whitney Biennial in New York, the São Paulo Biennial, and the Venice Biennale. The Whitney Museum held a retrospective of his art in 1997.

RICHARD HAMILTON

IRONY AND SATIRE: Humor was one of the main components of Pop art. Artists use the subject matter to make a statement about current events, poke fun at fads, and challenge the status quo.

1 Richard William Hamilton CH (24 February 1922 – 13 September 2011) was an English painter and collage artist. His 1955 exhibition Man, Machine and Motion (Hatton Gallery, Newcastle upon Tyne) and his 1956 collage Just what is it that makes today’s homes so different, so appealing?, produced for the This Is Tomorrow exhibition of the Independent Group in London, are considered by critics and historians to be among the earliest works of pop art. A major retrospective of his work was at Tate Modern until May 2014.

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TAKASHI MRAKAMI

BRIGHT COLORS:

1 Takashi Murakami, born February 1, 1962) is a Japanese contemporary artist. He works in fine arts media (such as painting and sculpture) as well as commercial (such as fashion, merchandise, and animation) and is known for blurring the line between high and low arts. He coined the term “superflat,” which describes both the aesthetic characteristics of the Japanese artistic tradition and the nature of postwar Japanese culture and society, and is also used for Murakami’s artistic style and other Japanese artists he has influenced.

Pop art is characterized by vibrant, bright colors. Primary colors red, yellow, and blue were prominent pigments that appeared in many famous works, particularly in Roy Lichtenstein’s body of work.

ROY LICHTENSTEIN

1 Roy Fox Lichtenstein (October 27, 1923 – September 29, 1997) was an American pop artist. During the 1960s, along with Andy Warhol, Jasper Johns, and James Rosenquist among others, he became a leading figure in the new art movement. His work defined the premise of pop art through parody. Inspired by the comic strip, Lichtenstein produced precise compositions that documented while they parodied, often in a tongue-in-cheek manner. His work was influenced by popular advertising and the comic book style. His artwork was considered to be “disruptive”. He described pop art as “not ‘American’ painting but actually industrial painting”. His paintings were exhibited at the Leo Castelli Gallery in New York City.

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ROBERT RAUSCHENBERG

1 Milton Ernest “Robert” Rauschenberg (October 22, 1925 – May 12, 2008) was an American painter and graphic artist whose early works anticipated the Pop art movement. Rauschenberg is well known for his Combines (1954–1964), a group of artworks which incorporated everyday objects as art materials and which blurred the distinctions between painting and sculpture. Rauschenberg was both a painter and a sculptor, but he also worked with photography, printmaking, papermaking and performance.

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Mixed media and collage: Pop artists often blended materials and utilized a variety of different types of media. Like Robert Rauschenberg, whose works anticipated the Pop art movement, artists Tom Wesselmann and Richard Hamilton combined seemingly disparate images into a single canvas to create a thoroughly modern form of narrative. Similarly, Marisol is known for sculptures that use many a variety of different materials to represent figures.

FROM X-LARGE TO SUPREME Case studies on streetwear brands.

X-Largeから Supremeへ X-Large

There is one question that has been asked repeatedly during the research is, what makes an appearance street? Streetwear is not only something that is a T-shirt or hoodies but something more than fashion behind the concept of making streetwear. Therefore, I did a few case studies on current streetwear brands that were established in the 1900s but still exist in today’s world. I want to understand what makes them successful and immortal.

1 X-Large is an American streetwear brand and clothing store based in Los Angeles, California. It was founded by Eli Bonerz and Adam Silverman in 1991, based on an idea from Mike D. Since then, the company has expanded the business in New York City, Tokyo, Seattle, and Toronto, among others.

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Reselling clothes that are purchased from the market.

Putting logos and tags on the products to mark the streetwear brand.

Adapting different elements and cultural concepts on the original form to expand different fields that the brand can reach.

Collaborating with different artists or communities to expand popularity.

After I read how X-Large develop its streetwear, I summed up this process of making streetwear that is from reselling to branding to collaborating and continuing with adapting. I was wondering if this process also works on other brands. Therefore, I did another case study on the other streetwear brand, Stussy. 152

Reselling Stussy started as a surfboard shop in Los Angeles, California. In the beginning, the brand is just like other surfboard stores that resell surfboards to its customers.

Stüssy

I found it interesting that even Stussy and X-Large are two different brands, they still follow the same process when the brand establish their popularity.

1 Stüssy is an American privately held fashion house founded in the early 1980s by Shawn Stussy. It benefited from the surfwear trend originating in Orange County, California, but has since been adopted by the skateboard and hip-hop scenes.

Branding As time passed, Stussy started to tag his signature on each surfboard they sell. At this point, Stussy began to build its identity around the community.

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Collaborating Later, Stussy shifted the brand’s focus on building its popularity through collaborations with different artists, such as rappers, musicians and graffiti artists, etc.

Adapting When Stussy expanded its popularity to Japan, the brand itself start adapting other local brands such as Fragment by Fujiwara Hiroshi.

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NIKE SNEAKERS

ナイキスニーカーを使った小さなエクササイズ

SMALL EXERCISES WITH

Nike sneakers are one of the most influential apparels in streetwear culture. Therefore I did a small exercise on analyzing how Nike did for their sneakers since 1964.

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It is interesting that what we discovered in the case study also could apply on how Nike did with their sneakers. First, reselling to tagging. Then is Nike’s collaboration with Micheal Jordan and further adapting Virgil’s design on existing classic Nike sneakers, such as

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Air Jordan 1, Air max, etc... Furthermore, I did another poster on how Nike’s traditional track shoes became casual wear for today’s fashion. I used graffiti spray can paint to cover the information and ideas that do not fit

with how people wear Nike track shoes today. For example, in the vintage advertisement, it says “this shoe is not for everybody” and “it is only for those who want the best”.

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“今日の人々がナイキしているかを見ると、あり、陸上競技やバス手でなくても、誰にと

“WHEN WE LOOK WEAR NIKE TOD CASUAL, IT IS FOR IF YOU ARE NOT A ICS OR BASKETB

イキをどのように着用、それはカジュアルでスケットボールの選とってもそうです。 ”

K AT HOW PEOPLE DAY IS THAT IT IS R EVERYONE EVEN A TRACK ATHLETBALL PLAYER.”

SUBJECT MATTER

主題

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After the first phase of study and research, it shows that streetwear could be used as a medium that has the huge potential energy to express beliefs. In some way, we can say that streetwear really democratized fashion and when we combine streetwear with pop art, the combination makes the expression more powerful. Next, I want to find a subject matter to use what I discovered to experience. Then I am looking at the current social problems that relate to myself. Next, I want to find a subject matter to use what I discovered to experience. Then I am looking at the current social problems that relate to myself.

아시아계 미 국인의 역사 HISTORY OF ASIAN AMERICAN

First Immigration: 1850s and 1860s The Chinese arrived in the U.S to work in the gold mines and railroads. The Chinese were further alleged to be “coolies” - is a term for a low-wage labourer, typically of South Asian or East Asian descent

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Chinatowns—areas of large cities which the police largely ignored.

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The Page Act of 1875 ( Immigration Act) Prohibiting the recruitment of laborers from “China, Japan or any Oriental country” who were not brought to the United States of their own will or who were brought for “lewd and immoral purposes.” It effectively blocks Chinese women from entering the country and stifles the ability of Chinese American men to start families in America.

Chinese Exclusion Act Chinese workers from entering the country and excludes Chinese immigrants from American citizenship. Untill 1943, when World War II labor shortage pressure and increased anti-Japanese sentiment leads to its demise and Chinese immigrants are allowed to become naturalized citizens.

The Rock Springs Massacre Twenty-eight Chinese are killed, with 15 more injured by the mob.

Chinese miners with “rockers’’ on Idaho’s Salmon River, not far from the site of the massacre of as many as 34 Chinese gold miners on the nearby Snake River. The rocker was a popular and easy-to-use mining device used to separate gold nuggets and dust from rocks and sand.

The Forgotten Chinese Massacre at Hells Canyon POSTED BY RAYMOND CHONG SEPTEMBER 14, 2020

From the Blue Mountains of far northeast Oregon, the serpentine Snake River cascades into the grand Columbia River as it pours into the Pacific Ocean. The waters of the Snake River carves the deepest canyon at North America – Hells Canyon. At Hells Canyon, along its rocky rivershore, upon a cliff, a granite memorial poignantly marks an awful atrocity: Chinese Cove Massacre-Site of the 1887 massacre of as many as 34 Chinese gold miners. No one was held accountable. 170

In 1995, Charlotte McIver, Wallowa County Clerk, discovered a cache of trial records relating to the 1888 murder trial in an old safe that being donated to the County Museum. Gregory Nokes, a reporter for The Oregonian, began his own research into Chinese Cove Massacre. In 2009, he published a nonfiction book – “Massacred for Gold: The Chinese in Hells Canyon,” that described Massacre details and its coverup by the White community.

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Anti-Chinese Sentiment

Massacre

The Chinese Exclusion Act of 1882 prohibited all immigration of Chinese laborers. The Act denied Chinese from becoming naturalized American citizens. During the zenith of the anti-Chinese sentiment at the American West, Whites chased, shot, and hung Chinese during this period. They also burned Chinatowns.

From Lewiston at Idaho Territory, a group of Chinese gold miners, employed by Sam Yup Company at San Francisco, sailed upstream on Snake River along the steep cliffs of Hells Canyon. They camped at Deep Creek in search of flour gold. The men were sojourners were from Canton city at Kwangtung province in Cathay.

On September 2, 1885, in the Rock Springs Massacre in Wyoming Territory, a riot and subsequent massacre of Chinese coals miners by White coal miners killed 28 and injured 15 Chinese. The White coal miners held racial prejudice toward the Chinese miners because they perceived them to be taking “White” jobs.

On May 27-28, 1887, a gang of seven horse thieves of White men from Wallowa County, led by Bruce Evans, ambushed the Chinese gold miners. The other six were Titus Canfield, Frank Vaughn, Robert McMillan, Hezekiah Hughes, Hiram Maynard, and Homer LaRue. They robbed gold dust from the Chinese and shot them with high-powered rifles. They mutilated their bodies and dumped them into the Snake River. They burned their camp and equipment. Soon, Chinese bodies washed ashore downstream at Lewiston.

The Tacoma Riot occurred when Whites forcefully expelled the Chinese residents from Tacoma at Washington Territory, on November 3, 1885. The mob marched 200 Chinese residents to Lake View railroad station and forced them to board a train to Portland at Oregon. Afterwards, the mobs razed entire structures in the Chinese community. The Seattle Riot occurred on February 6 to 9, 1886, at Seattle in Washington Territory. Again, a White mob forcibly expelled Chinese from the city. They compelled 196 Chinese to pack their bags and to leave aboard the steamship Queen of the Pacific to San Francisco.

The Massacre was officially investigated at the behalf of Sam Yup Company in coordination with Chinese consulate in San Francisco. They identified ten Chinese who were natives of Punyu County near Canton city. Vaughn testified as state witness. A Circuit Court grand jury indicted Evans and five other gang members (Canfield, Hughes, LaRue, Maynard, and McMillan) for the murder of ten Chinese. Evans, Canfield and LaRue fled Wallowa County and were never apprehended. McMillian, Maynard, and Hughes were arraigned. At Enterprise, a short murder trial with a White jury was held. The White jury found the three men innocent on September 1, 1888. The White community deemed it acceptable to commit violent crimes against the Chinese in the American West.

Angel Island The U.S. Immigration Station is located in Angel Island State Park on Angel Island, the largest island in California’s San Francisco Bay. While the island is the home of 740 acres of pristine parkland, including beautiful beaches, picnic areas and hiking trails, it is most famous for its rich history.

In 1850, President Millard Fillmore declared Angel Island a military reserve and during the Civil War, the island was fortified to defend San Francisco Bay from potential attack by Confederate forces. Angel Island continued to be an active military installation through World War II. In 1905, the War Department transferred 20 acres of land on the island to the Department of Commerce and Labor for the establishment of an immigrant station. While the exact number is unknown, estimates suggest that between 1910 and 1940, the station processed up to one million Asian and other immigrants, including 250,000 Chinese and 150,00 Japanese, earning it a reputation as the “Ellis Island of the West.” Having served as the point of entry to the United States for Asia, Angel Island remains an important place for Asian Americans whose heritage and legacy are deeply rooted in the history of the U.S. Immigration Station. 172

Immigration and Nationality Act it puts an end to immigration policies based on ethnicity and race and quota systems, resulting in a wave of Asian immigrants who had been barred from entry.

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Enter the Dragon1 1 Enter the Dragon is a 1973 martial arts action film directed by Robert Clouse. The film stars Bruce Lee, John Saxon and Jim Kelly. It was Lee’s final completed film appearance before his death on 20 July 1973 at age 32. An American and Hong Kong co-production, it premiered in Los Angeles on 19 August 1973, one month after Lee’s death. The film grossed an estimated US$350 million worldwide (equivalent to more than $1 billion adjusted for inflation), against a budget of $850,000. Having earned over 400 times its budget, it is one of the most profitable films of all time, as well as being the most profitable martial arts film. Enter the Dragon is widely regarded as one of the greatest martial arts films of all time. In 2004, it was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant”.Among the first films to combine martial arts action with spy film elements and the emerging blaxploitation genre, its success led to a series of similar productions combining the martial arts and blaxploitation genres. Its themes generated scholarly debate about the changes taking place within post-colonial Asian societies following the end of World War II.[8] Enter the Dragon is also considered one of the most influential action films of all time, with its success contributing to mainstream worldwide interest in the martial arts as well as inspiring numerous fictional works, including action films, television shows, fighting games, comic books, manga and anime.

ปัญหา สังคมใน ปัจจุ บน ั CURRENT SOCIAL PROBLEMS As an Asian American who immigrated to the United States in 2009, my attention was caught by many current “Anti-Asian” crimes and actions on the internet since the Covid-19 period.

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Hate Crimes Against Asian Americans Are on the Rise. Many Say More Policing Isn’t the Answer

By Cady Lang from TIME USA1

1 Time (stylized in all caps) is an American news magazine and news website published and based in New York City. For nearly a century, it was published weekly, but by March 2020 it had switched to once every two weeks. It was first published in New York City on March 3, 1923, and for many years it was run by its influential co-founder, Henry Luce. A European edition (Time Europe, formerly known as Time Atlantic) is published in London and also covers the Middle East, Africa, and, since 2003, Latin America. An Asian edition (Time Asia) is based in Hong Kong. The South Pacific edition, which covers Australia, New Zealand, and the Pacific Islands, is based in Sydney. In December 2008, Time discontinued publishing a Canadian advertiser edition.

When Amanda Nguyen saw the video, she was horrified. In the Jan. 28 security footage, 84-year-old Vicha Ratanapakdee was shoved to the ground while taking his morning walk in San Francisco; just two days after the assault, he died. (Nineteen-year-old Antoine Watson has since been charged with and pleaded not guilty to murder and elder abuse.) It was one of several incidents of physical violence against Asian American elders in recent weeks across the U.S., but Nguyen had yet to see coverage by a major news outlet about the concerning increase in violence towards the Asian American and Pacific Islander community, following a year of xenophobic rhetoric and racist attacks amid the pandemic. “I was mad, like blood boiling through my veins now, watching my community get slaughtered,” says Nguyen, a civil rights activist who was nominated for a Nobel Peace Prize for her work in advocating

Why the ‘model minority’ myth is harmful Many have pointed out that racial violence against Asian Americans often goes overlooked because of persistent stereotypes about the community. “There is a stereotype and an assumption that Asian Americans have class privilege, that they have high socioeconomic status and education, and that any discrimination doesn’t really happen or feel legitimate,” says Bianca Mabute-Louie, a racial justice educator. “There are these assumptions about ways that Asian Americans have ‘succeeded’ in this country.”

for sexual assault survivors. “How many more people need to be killed in order for Many attribute the 2020 uptick to the xenophobic rhetoric of Biden’s predecessor; former President Trump repeatedly referred to COVID-19 as “the China virus,” blaming the country for the pandemic. In doing so, Trump followed in a long American history of using diseases to justify anti-Asian xenophobia, one that dates back to the 19th and 20th centuries and has helped to shape perception of Asian Americans as “perpetual foreigners.” “There’s a clear correlation between President Trump’s incendiary comments, his insistence on using the term ‘Chinese virus’ and the subsequent hate speech spread on social media and the hate violence directed towards us,” says Russell Jeung, a co-founder of Stop AAPI Hate and a professor of Asian American Studies at San Francisco State University. “It gives people license to attack us. The current spate of attacks on our elderly is part of how that rhetoric has impacted the broader population.” 176

Mabute-Louie cites the pervasiveness of the model minority myth as a large contributing factor to the current climate. That false idea, constructed during the Civil Rights era to stymie racial justice movements, suggests that Asian Americans are more successful than other ethnic minorities because of hard work, education and inherently law-abiding natures. “This contributes to erasing the very real interpersonal violence that we see happening in these videos, and that Asian Americans experience from the day-to-day, things that don’t get reported and the things that don’t get filmed.” Because the model minority myth suggests upward mobility, it creates a fallacy that Asian Americans don’t experience struggle or racial discrimination, a stereotype that’s been bolstered by limited (and in some cases, flawed) media representation like the film Crazy Rich Asians and more recently, Netflix’s Bling Empire. In reality, the community is America’s most economically divided: a 2018 study by the Pew Research Center found that Asian Americans experience the largest income inequality gap as an ethnic and racial group in the U.S. and a 2016 report from NYC Mayor’s Office of Operations found that Asian immigrants have the highest poverty rates in the city.

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Why more policing isn’t the answer High-profile Asian Americans have helped draw attention to the recent surge in hate crimes: actors Daniel Dae Kim and Daniel Wu shared the video of the 91-year-old man being pushed down in Oakland Chinatown on Twitter, offering a $25,000 reward to anyone who could provide “information leading to the arrest and conviction” of the attacker, who had also pushed down a 60-year-old man, as well as a 55-year-old woman, who was left unconscious from the attack. “The skyrocketing number of hate crimes against Asian Americans continues to grow, despite our repeated pleas for help,” Kim wrote in the tweet, going on to reference a Chinese American man who was beaten to death in 1982. “The crimes ignored and even excused. Remember Vincent Chin.” The Oakland police later charged 28-yearold Yahya Muslim with assault, battery and elder abuse; he was already in custody for unrelated charges when he was identified. As a result, Kim and Wu donated the $25,000 to community organizations aimed at stopping anti-Asian hate. Kim’s tweet brought up mixed feelings for many in the AAPI community. On one hand, Kim identified a longtime grievance for many Asian Americans—that violence against them has often been dismissed and that their struggles and even their existence often feel invisible to others in this country. Kim’s reference to the 1982 murder of Chin was a poignant reminder of a hate crime that led to a major mobilization for Asian Americans in the Civil Rights discourse, creating a significant wave of Asian American activism and a memorable point of solidarity with Black racial justice organizers.

At the same time, however, Kim’s offer of a reward for identifying the person who attacked Asian American elders underscored another problem with addressing racial injustice in the U.S.: how to tackle anti-Asian violence without relying on law enforcement institutions that have historically targeted Black and brown communities. Many in the AAPI community were troubled by the actor’s social media post, given that the alleged attacker was a Black man. Kim Tran, a consultant and writer, voiced her disagreement with this tactic on Twitter. “Listen, if you don’t understand why it’s problematic to offer 25k for information about a Black man in Oakland, I need you to stay off all the goddamned panels,” Tran wrote in a series of tweets. “This is the moment we need to ask ourselves, to what end? If it was for an accountability process, okay, but I highly doubt that. Lastly, this looks a lot like a bounty on a Black person funded by Asian American celebrities. I have major, major doubts.” Tran’s tweets reflected a larger sentiment online from many Asian Americans that keeping their community safe should not mean turning to increased policing—especially in the wake of a national reckoning this summer with systemic police brutality and the disproportionate harm it causes Black and brown communities, who often share space with Asian Americans. That perspective is informed by a long and complicated history between the Asian American and Black communities in the U.S., which has included both solidarity— like the Third World Liberation Front, which helped create equal education opportunities for students of color and the creation of ethnic studies—as well as interracial conflict. Mabute-Louie makes the case that fostering anti-Black

Here are some of the recently reported attacks: An 84-year-old Thai immigrant in San Francisco, California, died in February after being violently shoved to the ground during his morning walk In Oakland, California, a 91-year-old senior was shoved to the pavement from behind An 89-year-old Chinese woman was slapped and set on fire by two people in Brooklyn, New York

sentiment or focusing on interracial conflict in this moment takes away from recognizing that racism is a result of white supremacy. “If the bigger problem is anti-Asian sentiment, putting someone in jail doesn’t solve that problem,” she says, calling for an approach that allows perpetrators to be both held accountable and encouraged to change. “All of us really need to do work into our communities to unlearn these harmful narratives about each other.”

Two Asian American women were stabbed at a San Francisco bus stop; eyewitness reports say the assailant “casually walked away in broad daylight” An Asian man walking with his 1-year-old child in a stroller in San Francisco was punched in the head and back multiple times A stranger on the New York subway slashed a 61-year-old Filipino American passenger’s face with a box cutter An Asian American woman in New York City was struck in the head with a hammer by an unidentified assailant who demanded that she remove her mask Asian American restaurant employees in New York City told the New York Times they now always go home early for fear of violence and harassment An Asian American butcher shop owner in Sacramento, California found a dead cat - likely intended for her - left in the store’s parking lot; police are investigating it as a hate crime An Asian American family celebrating a birthday at a restaurant in Carmel, California, was berated with racist slurs by a Trump-supporting tech executive

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Several Asian Americans home owners say they’ve been abused with racial slurs and had rocks thrown at their houses The only Asian American lawmaker in the Kansas legislature says he was physically threatened in a bar by a patron who accused him of carrying the coronavirus New York police arrested a man who assaulted a woman during a protest against anti-Asian racism A grieving family received a hateful letter on the day of their father’s funeral, telling them to “pack your bags and go back to your country where you belong” A school board candidate of Vietnamese descent in Portland, Oregon, found a note with the words “Kung Flu” on her doorstep A medical worker of Filipino descent in Los Gatos, California was shoved to the ground from behind by an assailant who told her to “go back to [expletive] China”

What you can do to fight violence and racism against Asian Americans By Vignesh Ramachandran1 1 Vignesh Ramachandran is a digital news editor for the PBS NewsHour. Ramachandran is also co-founder of Red, White and Brown Media, focused on building media representation and sharing South Asian American stories. Previously, he was at ProPublica, the Stanford Computational Journalism Lab and NBC News Digital.

As Asian American communities reel from an uptick in violence and hate spurred by racist rhetoric about the coronavirus pandemic, advocates are urging Americans to be allies in actionable ways that go beyond words. Even as overall hate crimes fell in 2020, hate crimes against Asian Americans in major U.S. cities grew nearly 150 percent. Since the early days of the COVID19 pandemic, the group Stop AAPI Hate has recorded at least 3,795 reported incidents of hate against Asian American and Pacific Islanders. On Tuesday, a white gunman fatally shot eight people, including six Asian women, in a series of killings at three massage parlors in the Atlanta area. The shootings are the latest in a series of violent incidents against Asian Americans across the country, including the January assault and killing of 84-yearold Vicha Ratanapakdee in San Francisco. As lawmakers grapple with how to address the discrimination and violence, Asian American community leaders shared advice with the PBS NewsHour about ways Americans can help. Support the immediate needs of AAPI groups on the ground in Georgia Right now, there’s a need to support Asian American and Pacific Islander communities in the Atlanta area, who are reeling from the aftermath of the March 16 killings. “It’s listening to the immediately impacted folks — the communities on the ground — and honoring what they’re asking for, and what they’re saying they need,” said Marita Etcubañez, senior director of strategic initiatives at Asian Americans Advancing Justice – AAJC. Asian American Advancing Justice – Atlanta is currently calling for local

and state governments to provide “crisis intervention resources, including in-language support for mental health, legal, employment and immigration services.” The organization also has callouts for anyone to: Sign their collective community statement Donate to the Atlanta victims and their families Share resources you can offer to the victims, their families and other community members like language translation, mental health services, legal services, childcare or food assistance. Groups like the Asian American Resource Center in Georgia also have volunteer opportunities. That organization is also fundraising to help the victims’ families with funeral and arrangement costs. Speak out if you witness a hate crime or incident “If you happen to find yourself witnessing something … either speak out or actually intervene and defend the other person,” Vietnamese American author Viet Thanh Nguyen told the PBS NewsHour’s Amna Nawaz. When Nguyen was a college student in Berkeley, California, he witnessed a white man berating a South Asian American man in a copy shop. “I had to step in and say something even though I was just a bystander,” Nguyen said. “The white gentleman was so upset he just stormed out and the South Asian owner said, ‘Thank you for speaking up for me and stepping in between.’” While some witnesses have been recording these incidents, Stop AAPI Hate has tips for both those experiencing hate and those witnessing it, such as prioritizing safety first and trying to stay calm “Over and over again, we heard from respondents [who submitted reports of hate] that it was hurtful to be targeted,” said Cynthia Choi, Stop AAPI 180

Hate’s co-founder. “But it was even more hurtful to have no one stand with them — no one intervened when clearly they were being targeted because of their race, ethnicity and gender.” The Southern Poverty Law Center’s “Speak Up” strategies suggest four steps when responding to coronavirus racism: interrupt, question, educate and echo, and explains each of them in this guide. And the Anti-Defamation League has guides in English, Spanish and Arabic for how to respond to hate. Report the hate crime or incident. If it’s a violent situation or safety is in danger, call 911 immediately. Hate crimes are underreported. Asian American community leaders say reporting an incident you experienced or witnessed can help bring greater awareness and strengthens the chance a perpetrator will be prosecuted. Hate crimes can be reported both to your local police and by tips to the FBI. Over the last year, Stop AAPI Hate’s reporting center — which you can submit to in multiple languages — has been tracking thousands of incidents across the United States. There are also community sites like AAJC’s Stand Against Hatred website, where you can share your experiences. Consider taking part in a training about hate AAJC has partnered with the organization Hollaback! to host bystander intervention trainings so people can learn how to stop anti-Asian and xenophobic harassment when they see it. “What we communicate in the training is that it’s important to address even the seemingly inconsequential behaviors, because that is a moment where your intervention might actually be able to

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reach the person who’s demonstrating the objectionable behavior and use it as a teachable moment,” said Etcubañez. “This isn’t the answer to systemic racism, but it’s a step that we can all take to contribute to a society where it’s clear that these behaviors are not acceptable.”

by any stretch,” Huang said. “Understanding Asian history in the country, understanding the different experiences of different communities will also go a long way to demonstrating how Asian Americans have always been part of the U.S. story.”

Check in with your Asian American peers

There are countless books by Asian American authors that can help illuminate the Asian American experience in the U.S. The PBS NewsHour’s February book club pick — “Interior Chinatown” by Charles Yu — is a dark commentary on Asian American racism and representation. Vox also put together a reading list of books from authors and experts in Asian American history.

With some Asian Americans afraid to go out in the current climate, said Margaret Huang, president and CEO of the Southern Poverty Law Center (SPLC), she said one of the most important things to do is to ask the Asian Americans in your life what you can do to support them. That could be something as simple as offering to help them go to the grocery store or to run an errand. “People are very afraid, and I think those gestures could make a lot of people really reassured that they are part of our larger American community,” Huang said. People should also listen to Asian American women and elders — and center their experiences, advises Vivien Tsou, national field director for the National Asian Pacific American Women’s Forum (NAPAWF). “Oftentimes people assume that it’s a wave that comes and goes, and I need people to see it as deeply structural and cultural problems within the United States that are rooted in white supremacy,” Tsou said. Learn about the history of Asian American discrimination AAPI leaders also urge the importance of understanding the history of Asian Americans in the United States, how the community is not a monolith and how diverse the experiences of each community within America are. “Asia is an extraordinarily enormous region of the world … so the experiences of Asian Americans are not uniform

“We believe that ethnic studies and understanding sources of racism really promotes racial empathy … or community,” said Stop AAPI Hate’s Choi. Advocate for awareness in your workplace Choi believes businesses can go beyond issuing statements of solidarity by using their platforms to support things like community-based initiatives. “We’re hearing from so many individuals who are pushing their workplaces to do better in terms of creating space for their employees to understand this issue,” Choi said. “Every entity has a platform … Whether you’re the NBA, Google or a faith community, use your platform to talk about this issue to understand it, so that you can think about how you want to participate in doing anti-racism work.”

Eventually, the American Asian community started to express their feeling and social needs through the “Stop Asian Hate” movement.

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實地研究，洛杉磯唐人街 FIELD RESEARCH, CHINATOWN, LOS ANGELES

I wish to find some visual design elements that exist in American society. Therefore I did field research around the Los Angeles Chinatown1.

1 Chinatown is a neighborhood in Downtown Los Angeles, California, that became a commercial center for Chinese and other Asian businesses in Central Los Angeles in 1938. The area includes restaurants, shops, and art galleries, but also has a residential neighborhood with a low-income, aging population of about 20,000 residents. The original Chinatown developed in the late 19th century, but it was demolished to make room for Union Station, the city’s major ground-transportation center. A separate commercial center, known as “New Chinatown,” opened for business in 1938.

街道 Street

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服裝 Clothing

字體 Typography

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AS AN ASIAN AMERICAN GRAPHIC DESIGNER, I HOPE I COULD DO SOMETHING FOR THE ASIAN AMERICAN COMMUNITY. I BELIEVE STREETWEAR IS A GREAT MEDIUM FOR THIS SUBJECT MATTER. IT’S POWERFUL AND IT WILL ALSO EXPRESS SOCIAL NEEDS AND RESPECT TO SOCIETY.

作為一名亞裔美國平面設計師，我希望我能為亞裔美國人社區做點什麼。我相信街頭服飾是這個主題的絕佳媒介。它很強大，也會表達社會需求和對社會的尊重。

EXPLORATIONS & SKETCHES EXPANDING AND NARRWING REVISIONS & REFINEMENT APPLICATION DEVELOPMENT & EXPANSION

ロゴ LOGO EXPLORATIONS

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EXPLORATIONS

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色 COLOR EXPLORATIONS

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BIBLIOGRAPHY

บรรณานุกรม BIBLIOGRAPHY

Adz, K., &amp; Stone, W. (2018). This is not fashion: Streetwear: Past, present and future. Thames &amp; Hudson.

Nigo, Akio Iida, & Luna, I. (2008). A Bathing Ape. Rizzoli.

Gastman, R., Neelon, C., & Smyrski, A. (2007). Street world : urban culture and art from five continents. Abrams.

Fuijwara, H. (2020). Hiroshi Fujiwara: Fragment, #2. Rizzoli International Publications.

DANIEL ARSHAM ON POPULAR CULTURE INFLUENCE. How streetwear &amp; popular culture intersect. (n.d.). Retrieved March 22, 2022, from https://strategyand.hypebeast.com/streetwear-report-daniel-arsham-popular-culture

Deconstruction and graphic design: History meets theory. (n.d.). Typotheque. Com. Retrieved March 23, 2022, from https://www.typotheque.com/articles/ deconstruction_and_graphic_design_history_meets_theory

OG Slick on designing for Stussy and FUCT & patenting the LA “Mickey hands”. (2016, November 5). HYPEBEAST. https://hypebeast.com/2016/10/ og-slick-at-murals-in-the-market-detroit

Meyer, J. (2019, August 15). History of Nike: Timeline and facts. TheStreet. https://www.thestreet.com/lifestyle/ history-of-nike-15057083

Lupton, E. (2022). Deconstruction and Graphic Design: History Meets Theory by Ellen Lupton. Retrieved 23 March 2022, from https://www.typotheque.com/articles/deconstruction_and_graphic_design_ history_meets_theory Tanaka, R. (2016). OG: True OG streetwear Xlarge®. Tokyo : B’s international, 2016.

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(N.d.). Time.Com. Retrieved March 23, 2022, from https://time.com/3984690/ american-casual-dressing/ Rotondi, J. P. (2021, March 19). Before the Chinese Exclusion Act, this anti-immigrant law targeted Asian women. HISTORY. https://www.history.com/news/ chinese-immigration-page-act-women Christian. (2019, July 30). Tribal factions: The WASP vs. The Trad. Ivy Style.

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http://www.ivy-style.com/tribal-factions-the-wasp-vs-the-trad.html Society and life in the 1960s. (n.d.). English-Online.At. Retrieved March 23, 2022, from https://www.english-online. at/history/1960s/society-and-change-inthe-sixties.htm The page act of 1875 ( immigration act). (n.d.). Sdsu.Edu. Retrieved March 23, 2022, from https://loveman.sdsu.edu/ docs/1875Immigration%20Act.pdf Kennedy, L. (2019, May 10). Building the transcontinental railroad: How 20,000 Chinese immigrants made it happen. HISTORY. https://www.history.com/news/ transcontinental-railroad-chinese-immigrants The forgotten Chinese massacre at Hells canyon. (2020, September 14). AsAmNews. https://asamnews.com/2020/09/14/ hells-canyon-massacre-left-34-chinesegold-miners-dead-in-hidden-chapter-inu-s-history/ The impact of pop art on the world of fashion - from art to industry and back. (n.d.). Widewalls. Retrieved March 23, 2022, from https://www.widewalls.ch/ magazine/pop-art-fashion-industry

Author, N. (2012, June 19). The rise of Asian Americans. Pew Research Center’s Social & Demographic Trends Project. https://www.pewresearch. org/social-trends/2012/06/19/ the-rise-of-asian-americans/ (N.d.-b). Time.Com. Retrieved March 23, 2022, from https://time.com/5938482/ asian-american-attacks/ Gupta, M. S., Parikh, M., Ip, S., Abidi, S., & Gupta, M. S. (2021, March 26). Here is what you need to know about Asian hate — and how you can help. Prestige Online - Hong Kong. https://www.prestigeonline.com/hk/people-events/people/ here-is-what-you-need-to-know-aboutasian-hate/ Danysz, M., & Dana, M.-N. (2010). From style writing to art : a street art anthology. Drago ; Gardena, Calif.

ABOUT LINKS CONTACT INFORMATION

My name is Harry, I am a graphic designer obsessed with street culture. My mission is to turn East Asian culture into an essential part of American pop culture. If design is a bridge then my inspiration is Edison Chen, an Asian streetwear founder. He inspired me to earn respect and ethnic pride through the work we do, and the art we design. California street culture brought a unique perspective to my design. I like powerful, pulsing designs, and the purity of organic art and craft. I wear the same hoodie and pair of jeans when designing. The residue of material and extra spray paint not only recorded my history it also marks my evolution as a designer. In 2003 I started by customizing sneakers and by 2019 I had started a streetwear business. Now I earned my MFA and will continue using the potential of street culture to pursue my dream of unifying and understanding different cultures. I feel fortunate and grateful to turn my passion into a career that I love and that contributes to ethnic pride.

www.hzhangportfolio.com hzhangdesign@gmail.com

Special Thanks: Micheal Neal (Thesis Advisor) Jennifer sorrell (Thesis Advisor) Gloria Kondrup (Visual Advisor) Jixiong Luo (3D Model Advisor) Sijin Zhu (Thesis Pod Member) Erin Son (Thesis Pod Member) Chang Gao (Thesis Pod Member) Zhuo Cao (Thesis Pod Member) Syed Hassan (Thesis Pod Member) Gaoyang Wu (Thesis Pod Member) Yingda Shang (Thesis Pod Member)