Hypebeast Paper Issue 1

THE ISSUE 1

SUMMER EDITION

PA P E R Eric Koston: 20 Years Strong

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The Streets Meets High Fashion with JUNYAMAFIA

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Rip Zinger Shots From Around the World

ERIC KOSTON REFLECTS ON 20 YEARS STRONG With three X Games gold medals, starring roles in six installments of the Tony Hawk video game franchise and two of the Skate series, major parts in films for present and past sponsors including Nike SB, Girl Skateboards, éS Footwear and Lakai Footwear, and his face on numerous Transworld and Thrasher Magazine covers, Eric Koston is one of the most renowned skateboarders of all time. However, despite the lucrative success of his 20-year professional career, Koston drives a subtle black

Toyota Prius that has scratched stock rims and a back bumper piece hanging down by the left, back tire. “This is the longest I’ve had a car,” he says. “I used to be the dude with a new car every two years. Before that Prius was a Range Rover. I’m getting older. I have two kids now.

I’m married.”

Big changes in life often spur a change in taste, and that goes for cars just as much as it goes for clothing. “What my opinion is and what kids are buying are probably on two different

ends of the spectrum,” the 38-year-old admits.

“I’m not a kid anymore; my tastes have changed, my style has changed. I’ve gone through eras of wearing all sorts of crazy stuff.”

Despite the generational gap, Koston has done very well selling skateboard products to a consumer base that is largely made up of people younger than him. Over the past 16 years, he’s released 11 pro model shoes between three different companies, the latest of which is the Nike SB Koston 2 – his second since joining the

brand in 2009. Amongst other miscellaneous items in the messy trunk of his Prius are two pairs of Koston 2s, both in Black/Digital PinkWhite – one of three colorways that hit the market with the sneaker’s debut on April 1. A lengthy amount of time was put into these, and he’s happy that they’re finally out. “I’m excited to just have something different to look at, but the sock liner is definitely better,” he boasts. “We made it a lot more anatomically correct.” continued on page 6

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CONTENTS 03 THOMAS MARTINI 04 WILLIAM STROBECK

EDITOR IN CHIEF Kevin Ma

06 ERIC KOSTON

PUBLICATION MANAGER Alexander Lendrum

08 JUNYAMAFIA

CONTRIBUTING EDITOR Eugene Kan

09 BRANDS TO WATCH

ADVERTISING MANAGER Andreas Menelaou

12 RIP ZINGER

DESIGN Tiffany Chan

14 ILLUSTRATED LOOKS

CONTRIBUTORS Keith Au Desmond Cheung Josh Davis Petar Kujundzic Aaron Lau Silas Lee Matt Morris Brandon Shigeta

16 SUMMER SHIRTS 101 18 SOMETIMES, SKATEBOARDING INVOLVES NOT SKATEBOARDING 18 HYPETRAK’S TOP 10 SUMMER TUNES

SPECIAL THANKS Jim Chan Sabrina Lee Debbie Poon Ravi Sidhu

THOMAS MARTINI KEEPING IT AUTHENTIC WITH BRIGHT Thomas Martini co-founded BRIGHT Tradeshow in 2005 with the hopes to fill a void within the European skate trade show market.

Staying true to his interests, he decided to stock skate-inspired streetwear brands to create one of the first European trade shows pertaining to skate culture. With the emphasis of BRIGHT still focused on its origins, Martini shares with us his thoughts on what streetwear etiquette is to him, as well as the versatility of that fashion genre.

Though the state of the industry fluctuates from season to season, Martini reinforces his support for the foundation of BRIGHT Tradeshow’s true passions: streetwear, skateboarding and sneakers.

What is streetwear etiquette in your words?

Streetwear etiquette is, ideally a combination of classy and modern looks, traditional brands, secondhand looks and newcomer brands – all of these elements mixed nicely with a personal touch. It could be an ‘80s Chevignon or Versace jacket with a ‘90s Stüssy T-shirt, then moving on to some skinny Acne jeans – a combination that works just as well as a secondhand Barbour jacket with a pair of Velour chinos and Vans.

It’s a personal statement, so you have to feel it.

How has your taste in streetwear changed since the beginning of creating the BRIGHT Tradeshow?

In the early days it was strongly influenced by skateboarding culture because that’s where we all came from. Nowadays though, it is much more influenced by fashion, and I guess this trend pretty much goes hand in hand with me growing up and getting older. I always liked brands like Silas or X-Large. In other words, I have never been too much into athletic or hip-hop type of

streetwear. I’ve always tried to keep it clean and simple, and that’s how things developed over time as well – less of a loose-fit and rather clean instead.

How does the BRIGHT Tradeshow differ from other similar tradeshows?

Our brand portfolio focuses on skateboarding, streetwear and sneakers. We always try to show off the influences of art, music and skateboarding, and what’s going on in fashion. We love to show the synergies of all these different parts of our lifestyle. We have never been based in a traditional kind of trade show building, and our entire staff has a strong background in these different cultures. All of these different aspects help to create an authentic platform.

The BRIGHT Tradeshow highlights a variety of well-known streetwear brands and the up-andcoming streetwear brands. How important do you think the trade show aspect of streetwear is in an era where social media has been the go-to promotion for new brands?

The idea of a trade show as an interface between industry, retail, and press becomes more and more important in a time of growing social media and internet. As face-to-face personal contact is almost a rare thing nowadays, a trade show like ours is increasingly important for the scene and the industry – a chance, at last, to meet your business partners in person.

The original BRIGHT Tradeshows highlighted primarily skateboarding cultured streetwear brands. Has the direction/taste of BRIGHT Tradeshow changed since the original?

I’d say that it always changes a little bit – it keeps changing from season to season, depending on

the trends and what is interesting for the traders we deal with. Here’s an example: At one point denim was a key product for the stores who came to visit BRIGHT; so we had brands like Levi’s, Nudie or Cheap Monday exhibiting. Yet, right now our visitors do not sell so much denim anymore, and so in turn those kinds of brands don’t exhibit at BRIGHT anymore and reach out for other trade shows to hit a different target group. The other way around we have a really high demand on hats, 5-panels and snapbacks.

Almost all relevant brands are exhibiting at BRIGHT, such as Mitchell & Ness, Official, Starter, Cayler & Sons, yet out direction and

foundation still remains the same: streetwear, skateboarding and sneakers.

What advice can you give to up-and-coming streetwear companies that want to be featured at BRIGHT? It’s simple: do your own thing. We have a wellselected and limited portfolio, and too many brands of the same kind are ultimately boring for visitors and press.

Words by Aaron Lau Photography by Nina Kroschinske

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WILLIAM STROBECK TALKS SHOP ABOUT THE WORLD OF SKATE VIDEOS

For an incoming generation, the world of analog will forever be foreign. William Strobeck is a director that has come to represent and rightfully romanticize the purity and authenticity of the past through his work.

Despite the changes to the industry as a whole, Strobeck has by no means lamented where skateboarding has gone but has understood its cause and effect. We took the opportunity to speak with the director about some of his insights into both directing skateboarding videos and his own creative passions.

My first camera... was a cheap 8mm camera that I got for Xmas when I was 14. It was cheap but looked kinda good. I’d use it today still if I had it.

New York’s skate scene... back in ‘90s was when I loved it the most... but the scene in my eyes has always had a hard time being the best. It’s rough here because it’s so easy to get wrapped up in other stuff.

It’s all available to you in this city. That being said, that’s the beauty of this place as well... you don’t have to stick to one thing. Plus

you meet all walks of life here... quickly.

Shooting skate videos... is harder than you think. You’re dealing with so much shit at once. Nothing is set up really.

Time and location can be set up. But you are dealing with security guards, rain and windy days. Spots will be gone the next day after you’ve skated them and you’re dealing with tons of different individuals. I’m kind of like a therapist, babysitter, fan, and a slave all in one.

But it’s fun so fuck it. I do enjoy making films that have nothing to do with skateboarding.

I love working with women. I’m good at that.

When it comes to digital cameras...

I like the quickness of the digital age but I hate hard drives though. I’d like to keep using tape still. I like modern amenities in an older looking style, get what I mean? For example using old cameras with new editing programs, etc. It creates a new style mixing the two.

The industry has changed… as it always does. Right now skaters have turned into billboards. Wear a Red Bull

shirt and glue Billabong stickers to your board to get the money... or just keep it raw street and say fuck. I’d choose the latter.

The meaning of authenticity... can best be described by John Frusciante’s Smile From the Streets You Hold album.

Money and popularity in skateboarding... the money is great of course. I live alone in Manhattan. That wouldn’t have happened if it didn’t get popular. I hate anything that is popular though – as soon as something is popular it turns to diarrhea.

I have trouble liking things everyone likes.

That’s just my opinion. Skateboarding still has its lil’ gems still though.

here. It’s my own dungeon of fun.

The skater that impresses me... lately is Dylan Raider. It changes all the time.

But yeah, he’s the best at the moment.

Making it… involves doing your own thing, own style, and you’ll get there quickly. I promise.

If somebody asks what I want to be remembered by…

I’d revert to the Magic 8-ball... “ask again later.”

The last thing I regretted... probably had something to do with spending money.

I’m most happy with... listening to sad music. I enjoy sad music and I feel at ease with it.

The best place to shoot... is in my apartment. I have people over all the time, so I film them and photograph them here. It’s mellow, I don’t feel frustrated

Words by Eugene Kan Photography by Sandy Kim

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ERIC KOSTON REFLECTS ON 20 YEARS STRONG OF SKATING AND PRODUCT

continued from page 1 Despite his passion and Nike’s technicality in production, Koston’s means of finding the inspiration behind his models is fairly simple.

“I take into consideration what I like and what skaters will like. There’s a little bit of influence of what the consumer will be interested in, but I don’t let that completely affect my judgment.”

He does emphasize the importance of creating a product that will sell, though. “You don’t want to walk into a skate shop and see your shoe on sale. That stings more than anyone’s opinion.”

In a bid to avoid any such potential heartache, Koston is already looking towards the Koston 3, which he plans to start working on soon, but insists will not be out for another

two years or so. “A few months back, we did a little brainstorming session on where we’re going to take it, and that’s our secret right now,” he reveals. What isn’t a secret anymore is the direction he wants to go in for it. “I definitely want to keep pushing it a little more and start messing with some different materials. I might try to go a little crazy, but not too crazy. I want it to stand out and look a little different than what other people are doing.”

No matter how unique the Koston 3 will be, there is one theme he keeps consistent these days to ensure the longevity of his namesake designs. “I feel like I’ve learned a lot from the past. Now, when I make something, I want to make it timeless. I want to make it a classic.

I want it to be able to last long. I don’t want it to be something I’m embarrassed of a year later.”

Speaking of classics, the Air Jordan I is Koston’s favorite shoe of all time, but not even being on the Nike team can get him the DS pair of 1985 originals he dreams to own. He does have his holy grail however – the collaboration he did with Kobe Bryant for a special edition Koston 1 in summer 2011. “It’s pretty gnarly to think about where I’ve come from as a fan of his, and we actually did a shoe together,” he says proudly. “I wear that one.” Given both his and Nike SB’s track records, it’s safe to assume that whatever they create next is sure to be a fixture for generations of skateboarders and sneaker enthusiasts to come.

In addition to designing, Koston will spend the rest of this year filming his part in Nike SB’s Chronicles – Vol. 03 video. But don’t expect that to be available anytime soon. Vol. 02 isn’t even out yet. To see Koston and Nike’s latest visual work, visit YouTube to view ‘Nike SB Eric Koston 2 – The Legend Grows’ – the entertaining viral commercial for the Koston 2 that features Tiger Woods, Paul Rodriguez, Kobe Bryant and more familiar faces, and has racked up over several million views since its premiere on March 22. The Koston 2 is available now at Nike SB retailers globally.

Words by Matt Morris Photography by Brandon Shigeta

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JUNYAMAFIA MERGES THE STREETS AND HIGH FASHION Initially conceptualized as a result of an inside joke between its designers, the new unisex label JUNYAMAFIA firmly sets itself within the streetwear scene through the release of its inaugural collection entitled ‘Notorious.’

Utilizing the idea of ‘juxtaposition’ and infusing it with an ever-whimsical approach, JUNYAMAFIA is toted to be one of those brands that will always be true to the origins of what street fashion is all about. Here we sit with Bam, one of the three founding creatives as he tells us about the brand and his thoughts on the streetwear scene of today.

Where did the name come from?

The name is a reflection of our cultural backgrounds. Having grown up listening to ‘90s hip-hop and given our longstanding interest in high fashion, the name JUNYAMAFIA seemed obvious and frankly just made sense.

It’s a juxtaposition of two seemingly different subcultures, but the marriage of the ideals and concepts between them present an interesting medium for our design.

What’s your take on the recent play on high fashion names incorporated into streetwear such as Channel Zero, LES (ART)ISTS, Versace Medusa motifs, and the like?

High fashion labels have been known to find inspiration from street culture concepts, so it’s only natural that streetwear reinterprets those same concepts through a street culture lens. It’s reminiscent of hip-hop sampling in the sense that bits and pieces of the same street concepts are articulated through different brands and visions.

What’s most interesting is how a designer articulates the same concept and how different the execution can be, which is the beauty of design as a whole.

What was the inspiration behind the brand and the Notorious collection?

The Notorious collection was inspired by the concept of juxtaposition. Putting two things together that don’t necessarily have an obvious connection and finding sharp points of contrast and comparison. It’s evident even in the name of the brand that we revolve around the idea of juxtaposition, as does life in a sense. There’s always going to be two sides to one coin.

What kind of approach are you guys taking with JUNYAMAFIA? In all honesty with JUNYAMAFIA we just want to have fun while maintaining the brand DNA. The designs and concepts we use reflect us personally, so what we create comes out not only naturally but also allows us to really play with the graphics and branding. We want to be as honest with ourselves and our influences as possible, seeing as that we grew up during an era of intersection in hip-hop and high fashion in the ‘90s. By taking the culture we experienced firsthand through music and fashion and combining it with our Fluxus-esque point of view on design, we aim to make JUNYAMAFIA as genuine a representation of ourselves as possible.

Why did you decide on the fusion between ‘90s subculture and high fashion? What makes those two work well together?

For some it may be a strange combination, but for us it’s second nature to pair the two. The reason they work so well together is because independently, the two stand on their own as scenes with their own history and set of ideals, but when any sort of crossover between the two occurs, its cultural impact is huge. Lifestyles are defined by a certain look and soundtrack

and when the two are cohesive enough, entire identities are created.

Where does the hip-hop influence come from?

Like we said we grew up immersed in the hip-hop culture as ‘80s and ‘90s babies. Not to mention that hip-hop as a whole provides an endless amount of inspiration and resources, so given our background it provides a perfect vehicle for a combination of our personal experience and our current perspective on design. Having had the chance to work with artists such as Big L and Mos Def in past endeavors certainly doesn’t hurt either. Above that, though, it all goes back to this idea of juxtaposition and the concept of music sampling.

What was the reason behind creating the Notorious collection as a reaction to the success

of your beanies?

The concept of JUNYAMAFIA was just too irresistible to not create a collection out of.

Initially, the original JUNYAMAFIA graphic was viewed more so as an inside joke. We thought it was going to be something only we or those within our circle would understand and find interesting. When the buzz began and it started to take off, it dawned on us that maybe we weren’t the only ones who were into the JUNYAMAFIA idea. That’s when we decided to go for it, grow it organically and give the JUNYAMAFIA concept all the shine it deserves. At its core it’s more of a giant inside joke if anything. It’s not that serious!

What is the reason behind the monochromatic color scheme (black and white)?

It goes back to the idea of juxtaposition – black and white, yin and yang. Having a

monochromatic color scheme provides a sharp form of comparison and contrast but also serves as a straightforward and blunt way of conveying our concepts and ideas.

Your lookbook manifesto states that the brand represents a “new and amusing approach to fashion.” What do you mean by this?

As of late with fashion, especially streetwear, the looks have been starting to cross over into overly serious territory which we don’t necessarily identify with. To us, fashion and what you wear on the daily should include an element of fun and shouldn’t be taken as seriously as we’ve seen some of our contemporaries express. Not to mention our approach to design is built on the concepts originating from the Fluxus movement, a school of design we identify ourselves with.

By not taking the concepts as seriously as others

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BRANDS TO WATCH Highlighting a few brands that we feel are worth watching out for.

AMI www.amiparis.fr Conceptually strong, French menswear purveyors AMI have injected a new level of sophistication and storytelling to fashion. One can look forward to cohesive collections each season.

COMMON www.commonaffairs.se Common brings a high degree of technically sound fashion as they represent one of Scandinavia’s brightest upcoming talents. Headed

by Saif Bakir and Emma Hedlund, they promote clean cuts and wellconceived elements of tailoring – showcasing a promising future ahead.

MOHSIN www.mohsinalidesign.com

do and infusing the Fluxus concept of anticommercial aesthetics, how could our approach to fashion not be ‘new and amusing?’

Do you see a long-term run with the high fashion parody genre?

So long as people maintain a sense of humor and high fashion remains influential then yes, we’ll see a long-term run in the high fashion parody genre. Will it be as consistent as one would like for it to be? Of course not, especially living in the age that we do with short-lived Tumblr trends and the like. It will come and go in waves but the concept as a whole will never die. There are plenty of brands whose whole basis is built on high fashion parodies, some more clever than others. It all comes down to how the concept will be executed and how we evolve as a brand.

What are your general thoughts on the streetwear scene of today?

It’s definitely an exciting time in the streetwear scene today because we’re seeing the resurgence of old concepts and ideas regurgitated through the lens of the youth and the forward-thinkers.

At the same time, we’re seeing boundaries pushed more now since the playing field has been leveled (given the accessibility of streetwear today).

More and more brands pop up left and right but their longevity is based on how well they can stay relevant while presenting something new and refreshing.

Should there be a limit to what can be considered ‘streetwear,’ or does the genre itself epitomize the freedom of style?

It’s like what Mos Def said about hip-hop on “Fear Not of Man”: “People talk about hip-hop

like it’s some giant living in the hillside…We are hip-hop. Me, you, everybody; we are hip-hop. So hip-hop is going where we’re going.” Streetwear is based not on what’s out there on the runway but what we’re wearing in the streets, hence the name. It’s the freedom that we have to wear whatever we desire, so to answer your question, the genre is supposed to epitomize the freedom of style. Of course you’re going to have people who are on their own wavelength and may look a little too out there, but that’s fine as long as they’re walking around in the streets daily looking like that. Otherwise it’s just a costume and that’s far from streetwear.

Words by Alexander Lendrum Photographs courtesy of JUNYAMAFIA

Part designer, part Muay Thai boxer, Mohsin Ali and his eponymous label embodies juxtaposition to the highest order. His collections deserve special praise for taking unorthodox themes and twisting them into his own unique vision that balance his aforementioned interests.

Raised by Wolves www.raisedbywolves.ca Conceived in the most unlikely of places Ottawa, Canada, Raised by Wolves has represented the new wave of refined streetwear brands. The brand’s honesty towards product and desire to keep things simple at the core has gone a long way to putting it on the world map.

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RIP ZINGER CAPTURES SKATING AND THE STREETS AROUND THE WORLD Tanaka Tomonori is better known within the photography and skateboarding realm as Rip Zinger. The ever-youthful photographer from Japan grew up loving everything street, from its fashion and culture to literally its pavements, picking up the skateboard as a means of exploring that world. With prominent street names such as Stussy and Head Porter backing him, Rip Zinger continues to travel the globe capturing wide-eyed shots of the everyday scenes that are often taken for granted. Here we ask him of his association between photography and street culture, where he’s recently been, and where he would like to go next.

What is it about street culture that’s alluring to you?

Street culture right now is very diverse. I am not sure what your definition of ‘street culture’ is, but what I do know is what’s actually happening on street in any city in any country. I love it, because street is at the ground level where all sorts of people pass by. Rich people to poor, white and black and yellow like me, beautiful, talented, art, fashion, performance – all random people I might not see again or would’ve never encountered if I wasn’t there. When it’s a new city to me and I’m feeling uncomfortable, as soon as I jump on a Zip Zinger, it feels like home and that’s when I start to feel the city. I’ve been bringing my camera, my passion, skating on a Zip Zinger and couch surfing around for almost seven years, and I’ve loved it from the moment I started.

Is there normally a narrative with your projects/photo collections?

Most of the time I contribute my photos to magazines in a photo-essay style – random photos in an interesting order. Something that’s relative and fun. When it comes to like a zine or book, I’ll spend more time and it will have more meaning, so I’ll write a story around the photo journey or essay.

What are your favorite cities to shoot in and why?

That’s a really hard question. San Francisco for landscape and to skate, ride fixed gear bikes, surf, etc. Barcelona for a European vibe and also to skate. Then there are New York, London, and Milan for their cityscape and rich cultures.

I think anywhere in any city, you’ll [be] able to find whatever culture or creative people that makes the best of their surroundings or the city.

Documenting skateboarders has been intrinsic to the skateboard culture for years. What is it that makes skateboarding images so exciting?

I believe skateboarders are the most skilled athletes ever. They do the most complicated movements in a highly technical format – it’s almost martial arts. Every single trick could be bone-breaking. Even if you’re a professional and make a lot of money from it, it’s still illegal somewhere. It’s dusty, dirty, back-of-the-street stuff. For example, I like taking photos of moments in-between. Not just highlighting the best trick or top skater, but of the kid’s eyes before he’s about to land his dream trick – the sweat and dirt of it all. I’m excited about taking pictures of skateboarders because they are free and believe in themselves. They live in their own community and they develop it themselves. They are a true example of “having fun” and it’s an international language I can relate to.

When did you realize you could take your photographing talents to a professional level?

I don’t really know how to answer that because I am not sure if I have talent or whether I’m at a professional level yet. Like how people learn to skate, I am learning how to photograph everyday. Nobody will tell you “from now on, you are a pro.”

How did you first get into the skateboarding scene?

I was one of those kids that looked up to the likes of Bob Haro and Eddie Fiola on freestyle BMX back in the early ‘80s. I was looking at this BMX magazine called FREESTYLIN’ and found an interview on Mark Gonzales. That started it for me. I’ve been skating since I was 11 and it feels like my time on a skateboard has passed so quickly.

What do you like about traveling?

I like traveling because it makes me feel alive.

It gives me a reason to enjoy life. I mostly stay at the houses of friends. I’ve stayed at houses, apartments, with couples, married couples and families with kids. I always try to give something back to them for having me. I’ve witnessed different habits, different lifestyles and I try my best to adjust with their vibe and have a good time.

Like your Head Porter Camera Holster, what interests you in being able to work with brands to create products?

About that particular project, I love this one camera, the Ricoh GR Digital. I also helped give feedback and develop the GR Digital III. I think GR is the answer for street style photography.

So I spoke to Chie from Head Porter to make a specific camera holster that allows me to pull my GR out fast, Clint Eastwood style. There’s also the GR x Stussy project. I helped link them together and was fully involved in that. What’s interesting is that it’s all about sharing. There are different interests in different cultures, brands and situations… So I keep meeting with different people and sometimes I find a big connection between people that might not have worked together before. So I like to connect those people and see what reaction comes from it.

Do you have any upcoming collaboration projects?

Not really. I’ve been in full traveling mode recently. I think it’s time to get back to it though.

How does it feel to be represented by the likes of streetwear legend Stussy, and who else would you like to work with?

It’s amazing! That’s when I noticed I had something and focused on getting the best out of it. For the future, I would like to work with companies like Patagonia. I also want to shoot Dan Malloy or Japanese snowboarders.

What’s your current camera rig/shoot setup?

The Ricoh GR1s, Leica M6, Canon EOS 5D Mark II, Ricoh GR Digital IV, Ricoh GXR, and a GoPro. From being exposed to so many new and interesting things while traveling, what’s the craziest thing you’ve captured so far?

A night of trouble with Rick Howard in Tokyo!

I was handling a 14-people team for 14 days.

When I have people like Rick, Mike Carroll and Mark Gonzales, I get calls at like 4 a.m. from the police, you know? I did not drink for days because of that. The last night of the trip was the team manager Sam’s birthday and I didn’t need to drive that night. So, I got fucked up and captured everything! Throwing a bicycle at Rick, Rick fighting back while throwing soup in my eyes…

Can you tell us what you have planned for the rest of the year?

I am in Revelstoke, British Columbia right now to go camping for seven days. It should be gnarly!

I’ve never been away this long on a camping trip before, especially in the snow. It’s exciting and worrying. Afterwards I’ll go to Mammoth Mountain in California for the Grenade Games, Venice Beach to shred some waves, then back to Tokyo for the GREENROOM Festival. Kassia Meador and I will also be exhibiting together.

After that, a bit of cruising around Tokyo until rain season starts, then off to Europe for the summer. Then maybe even Glastonbury festival.

I’m also looking for a publisher to make my RIPZINGER-EUROPE book.

Words by Alexander Lendrum Images courtesy of Rip Zinger

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ILLUSTRATED LOOKS Illustrations by Jim Chan

STREET

SMART

MKI BLACK White MKI S.P Rose T-shirt, BROOKLYN WE GO HARD (BWGH) Brick Kawa Bomber Jacket, U.S. ALTERATION Black Thermal Pant, ADIDAS ORIGINALS Torsion Allegra X “Camo”

ACRONYM® GT-J34, 3.1 PHILLIP LIM Black/Black Slim Fit Utility Pant with Trapunto Cording, A CUT ABOVE ACA Beanie, A.P.C. Chemise Shirt, KRISVANASSCHE Sneakers with Lacing on Sides, RETROSUPERFUTURE 49er Sunglasses

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SUMMER SHIRTS 101 Sunshine and great times with friends are defining traits of any great summer.

However, don’t forget to have your shirt game on lock with the late nights and lazy afternoons calling for something smart and dapper. Here we present some of our favorite shirts this season.

WHITE MOUNTAINEERING Cotton Ox Soldier Pattern Print B.D. Shirt

ALEXANDER MCQUEEN

MCQ

Palm Print Collar Shirt

Printed Short Sleeve Shirt

MAISON KITSUNE

ENGINEERED GARMENTS

Polo Multicolor

Printed Pocket T-shirt Navy Dots

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DAMIR DOMA

M.GRIFONI

White and Black Speckled Long Sagu Shirt

Short Sleeve Shirt “Camo”

CARVEN

MAISON MARTIN MARGIELA

T-shirt Herbier

10, Short Sleeve T-shirt

COMME DES GARCONS HOMME DEUX

SACAI

Pocket T-shirt

13-00443M

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SOMETIMES, SKATEBOARDING INVOLVES NOT SKATEBOARDING I once read a quote that stated: “Sometimes, skateboarding involves not skateboarding.”

The origin of this great mantra makes little difference, as its meaning is perhaps no more profound than when talking about skateboarding in New York. Talking shop in Supreme and Autumn Skateshop (R.I.P.) mentored me to talk about girls, The Catcher in the Rye and Bad Brains within the same sentence as a proper kickflip. In other words, learning how to skate in New York is more than just the act of riding your board; it’s a crash course in common culture.

What a place to learn, too. New York’s 6,300 miles of blacktop have designated the city an ‘infinite playground’ for skateboarders, yet ironically, places to actually skate uninterrupted are somewhat rare. When I tell people I grew up skating in New York, I often get responses that echo a combination of jealousy and admiration for being immersed in such a cultural mecca.

I generally just nod along. Like any other activity, skateboarding requires practice, and practice requires space. Steve Rodriguez, Billy Rohan and other notables have done a laudable job of

working with the Bloomberg administration to offer skateparks to the community. Where skatepark ‘solutions’ in Wisconsin (where I went to college) or California are successful though, New York skateboarding is a unique microcosm of a greater traffic issue that requires a more complex answer. The conundrum of performing a necessarily nomadic, anti-conformist activity in a glorified slope-box yields little appeal to some older (read: blasé) parties, and between soccer-turned-skater moms and headphonewearing leadfoot groms, the L.E.S. park on a given Saturday is about as spacious as a rush hour traffic jam. No gracias.

From my experience though, the landmark beacon for a place to skate comes in the form of a sole location: Tompkins Square Park.

Below 14th Street there are the “Gay Ledges,” and the late, great 12th and A, but the former has major security presence and the latter was recently shut down. Spots come and go in a city being perpetually renovated, and these sites have been both instrumental and consistent; each spot retains its own unique stigmas and connotations, but Tompkins, somehow, stands above the rest.

From the outside, Tomkins Square Park – though ‘Park’ is certainly generous titling – doesn’t seem like much. The side facing Avenue A holds a large multipurpose cemented area where various baseball weekenders, pickup basketball players, after school programs, and the occasional drug enthusiasts all convene. The respective crowds from Supreme, DQM and Labor Skate Shop all flock to the nearby space for its relative openness, though the random cement cracks, weathered gravel and discarded iced coffee cups-as-tumbleweeds belie how much of a luxury Tompkins actually is.

Within Tompkins gates: the sound of clacking boards, the hollow rumbling of dirty bearings, and frustrated obscenities fill the air. These charming sounds are supported by murmurs of Morrissey, Terry Richardson’s Tumblr, and gawking at longboarders from the comfort of the green benches at the front.

Tomkins’ greatness is found in the balance between pop culture and a childish obsession, not unlike the way New York is equal parts gritty work and indulgent play. Red box logos stickered to boards are instantly noticeable

there, and perhaps stand as reminders that skating can be both fashion and function.

Maybe they’re symbolic of the scene as a whole.

None of this is to say that New York skateboarding is not without its faults, or to imply that Tompkins is anywhere close to the ‘greatest’ spot in the scene. Older New York skaters aren’t necessarily pushing the envelope with wallies and frontside shuvit variations. The Tompkins bench is riddled with unnecessarily intimidating critics. Nights at Lit Lounge frequently impose on meetup times the next day. To return to my original point though, sometimes skating involves not skating, and I can’t help but think that a decrepit gravel pit is the perfect symbol for the scene in New York – understanding that there’s more to skating than doing the hardest tricks or getting sponsored.

It’s about having fun with friends. With that said, y’all can catch me on the bench on Ninth and A. I’ll be there all day.

HYPETRAK’S TOP 10 SUMMER TUNES Every summer requires an appropriate soundtrack. With hip-hop tunes provided by the likes of J. Cole, ScHoolboy Q, Mac Miller, Pharrell Williams and eclectic sounds by rising Parisian songstress Julia Losfelt, UK duo Disclosure and more – you sure won’t miss a beat during the warmer months of the year. So enhance your pool parties, rooftop BBQs and daydreaming by adding HYPETRAK’s Top 10 Summer Tunes to your summer playlist.

SCHOOLBOY Q Hell of a Night MAC MILLER Goosebumpz TA-KU Love Lost (Daughter Edit) DISCLOSURE FT. ELIZA DOOLITTLE You & Me (Toro Y Moi Remix) J. COLE Ni**az Know LORDE Tennis Court PHARRELL WILLIAMS Happy JULIA LOSFELT Away PHOENIX Trying To Be Cool (Breakbot Remix) SUNNI COLÓN Karma

Words by Josh Davis