Stussy - World Tour Movie Trailer from Stussy on Vimeo.


Unbeknownst to us, because we were not part of the art world movement, we were simply these outlaw hero dudes, crossover into New York social scene where there were galleries. That was a transition from being an underground subway writer in New York to an artist.

This is before really there was any frenzy of companies approaching street artists.

There’s guns everywhere, this and that and then you go home and then you look at notebooks.

Painting is real kind of like zen.

You’re 19 years old and you see some work that you’ve done professionally on billboards and bus stops.

I had always noticed the subway signs in the subway. I wonder if there’s a way to change those. I figured I had to break into the [INAUDIBLE].

If I sketch it really light then the last thing I’m going to do is going to be the black.

I never had an established career in graffiti or lack of interest in that but the sentiment of that is what I wanted.

When I tattoo someone I’m putting my 30 years of experience on them. You really get a piece of me. So if I’m in a bad spot and fucked up you’ll get some of that energy put on you, you know what I’m saying?

The fall of 1989 was remembered for the first release of the Stussy World Tour t-shirt. Shawn Stussy created what would become an enduring concept in graphic t-shirt designs. The idea and execution were simple: juxtapose two cultures from traditionally different worlds – a style device that had been used in art and music. On the front of the tee, names of cities associated with giants of high-end fashion and glamor are written in a stoic and formal Helvetica type. London, Paris, Los Angeles, New York, Tokyo – these were the cities considered to be the style capitals of the contemporary world. The back of the shirt was printed with names of boroughs where our kind of street culture was actually thriving. Considered dark and underground, these untapped urban areas were about to shake up the world.  Scrawled in a hand drawn manuscript, the back of the t-shirt clashed with the front in style, look and meaning. The graffiti was a shout-out to this band of outsiders – Brooklyn, Bronx, Compton, Santa Ana and Venice – that is reppin’ a new vibe, direction and attitude.In 2006, Stussy reinvented this classic and iconic t-Shirt with the World Tour Project. A group of over 40 artists were handpicked and invited to do their rendition of the World Tour T-shirt. They were graphic designers, graffiti artists, clothing designers and comic book artists. Their unique hand writing style and artistic vision were specifically chosen to fit with our ethos and identity. The t-shirts were released in small groups starting in March 2006 and new designs were dropped throughout the year. The second half of the year also saw some special events and collaborations for this project. All built and created new pages in a never-ending history. Stay tuned.

“It ain’t where ya from, its where ya at…”


I started drawing as far back as I can remember at John Muir elementary school in Santa Monica copying from books and things that I liked. Then I would copy from magazines like Surfer, Hot Rod and Creepy. I loved Creepy Mag. I started skateboarding with Craig Hollingsworth, his brother Dean and Kevin Kaiser. I rode down the driveways and streets in front of Craig’s house on one of their Hobies with white chalky wheels that left white tracks where we had turned on the driveways. I started body surfing around age 13 and soon got into belly boards. Craig, Dean, Kevin and I started making them at Craig’s garage first and we would draw and paint them like something we saw in a surf mag or movie. We drew stony caricatures we picked up from Zap Comics or an album cover or something like that.PAUL REVERE=SUNSET BEACH?
Around 1974, I started making wooden skateboards out of any kind of wood I could find. Some I made out of flexible ply wood: I tied a brick to it to put rocker in it, then fiber glassed both sides of it with sand stuck to the top for grip. The trucks were held in with wood screws and I had Cadillac wheels with loose bearings (this board was a health hazard!). We would skate the local bank, St. Clement’s, everyday and then heard about a bigger bank at a school named Paul Revere. We were told it’s like “Sunset Beach.” Then we heard about some pool (I think Tony Alva told Kevin and I) so we went and checked it out. I was so blown away by pool riding! Watching TA doing upside down burt’s on vert was unreal. I had never seen anything like it and till this day pools are my favorite skating to watch!

I kept making belly boards and skateboards and hooked up with Jim Muir and we started up this little company called Dog Town Skates. We came up with the first wide boards anyone had ever seen: 8”, 9”, 10”, 11” and 12” boards. We would go buy warped planks of hard wood and cut the first concave boards out of them. It seemed like the better board I had, the better I would skate and was always making new boards with new drawings and paintings! In 1979 and 1980, skateboarding went bust and I got into the graphic arts biz, a.k.a. printing. I free-lanced doing art for friends. I did a bunch for Jim Muir and the 80’s DT crew. I did art for Natas Kaupas’s Santa Monica Airlines board and his skate shoe with Etnies. In the 90’s I did art for Burt Lamar’s snowboard company and for many surfboard companies, but missed making my own skates.

In the mid 90’s, Ray Flores came by my house and I showed him a board I had made for him. He flipped, saying that nobody was making old school skates, and wanted me to start making them so he could sell them in his shop. I started Bulldog Skates, designing the boards and doing the art. I hooked up with my business partner Rich Fozmire, who was a collector and wanted to do a high quality product line of boards and wheels and I have some friends riding their models, too. So that is how we got to this point today.

-Wes Humpston aka Bulldog


When I come up with artwork for the board, I kind of start sketching it out like this.

Jim was riding for Sims, and he had a few Sims Longboards that were 40 inches, or 44 — they were really big. I go, “Dude, this is an awesome piece of wood.” It was really stiff, so I said, “Screw it”, and I whacked off the tail, and then part of what I cut off I moved up, glued it onto the back of it, and they cut a tail into it. That was it. That was a pool board, and we just kept modifying it from there. We always had an idea for what was going to work, and I was also thinking of the next artwork.

It would always be something I saw from a magazine. I used to be into creepy magazines, or Zap comic books, hot rod magazines — all the custom pain jobs. Frank Frazetta, R. Crumb. In Surfer Magazine, Rick Griffin used to do a lot of stuff for them. He was huge. That’s one of my favorite guys. Robert Williams did a lot of really cool stuff, and kind of whatever I saw I would take it and draw it, or use part of it. I was just always drawing.

This is the same kind of thing that Jim and I did back in the 1970s. This is a bent piece of wood that I found. It was curled, side to side, put a tail on it. This is kind of sloppy, but you’re look at this side more than that. We grind wheel wells in it, and that’s pretty much it. That’s what we used to do. Those are the kind of boards we used to make, just like that. Hand-made, one piece of wood — bam.

First I sketch it really light, then work into with the darker and darker colors. The last thing I’m going to do is the black. Then I go back over it with paint pens. I try to do them different so it’s not like the same old thing over and over.

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Mister Cartoon

Born and raised in Los Angeles, Mister Cartoon was introduced to design through his rudimentary career as a graffiti artist in the 80’s. He has since found his calling in hip-hop culture through the creation of tattoo art, magazines, album covers, backdrops for music videos/TV shows and the trunks of lowriders. His style of art and fine line tattooing was invented in the prison system but was popularized on the street in the 70’s. His artwork revered, Cartoon is a member of the Soul Assassins family of artists. U.S. magazines that have featured Cartoon’s work include Rolling Stone, Details, Detour, Vibe, XXL, Hustler Source, V America, Lowrider, Fine, Burst, H Magazine, Tokion, and the UK magazines Loaded and FHM. Cartoon has done album covers, logos and/or advertising material for Snoop Dogg, D12, Eazy E, Clipse, Cypress Hill, Shady Records, Stussy, Supreme, Tribal Streetwear, Black Flys, X- Large and Joker Brand Clothing. His intricate art has been inscribed on the bodies of Eminem, 50 Cent, Dr. Dre, Lloyd Banks, Mobb Deep, Cypress Hill, Method Man, Beyoncé, Fat Joe and Kanye West. He has exhibited in LA, NY, Tokyo and London. Most recently at Nike’s Blue house in Venice, CA where he broke the style barriers with the first ever, limited lowrider Nike Cortez and AF1 to be released at the end of 2004 throughout 2005.


Tattooing man, I tell you what, there’s no other canvas like it. If you’re drawing on a piece of paper, you don’t like it, you can throw it away. If you’re doing a mural on a car, you don’t like it, you can sand it off. This stuff is built to last forever, that’s it. When I tattoo someone, I’m putting my 30 years of experience on them. My first old lady, my argument with my wife, my kids’ first steps, you know what I’m saying? You’re really getting a piece of me, so if I’m in a bad spot, I’m in a bad space, I’m fucked up, you’re getting some of that energy put on you, you know what I’m saying? I think like most kids, man, like most artists, I started drawing on paper with pencil. I like pen and ink, but mainly it would be a lot of pencil sketching because I can get like an air-brushed look out of doing pencil and to this day that’s one of my favorite forms, and probably the longest thing that I’ve been doing. I didn’t want to go to art school and do a bunch of things that wasn’t me. I wanted to draw the sick images I’ve seen on the street, the dark shit, the party atmosphere, the drugs, the misery, the pain, the good times, the sex, the culture, you know what I’m saying, so that’s kind of why you see a lot of my work is done in black and gray, because as a kid, I wanted my art to look hard, plus I was a kid so I wanted to be older than I was and that’s why I would put Mister in front of my name. My name’s Cartoon, right, but as a kid I would say Mister Cartoon, or I would put Doctor or some type of title in front so we would jump ourselves up to adulthood.

Our graffiti resembles more Old English, it’s hard, it’s territorial. Where we love East Coast graffiti, as kids we wanted to be bombers and as I got older, I knew I had to make something that was my own, so I would use the same techniques of using the spray paint, and the caps and the cutting, cleaning up with the spray paint, but I would draw a Smile Now/Cry Later mask, you know what I mean, or I would draw an Old English piece with crazy 3D on it and I would kind of mix that New York technique of painting with L.A. icons, so as a kid I was doing that. I didn’t know that it would turn into a career and I would kind of get known for that stuff. I just wanted to be known on the street for it, I wanted to get laid for God’s sake, you know what I’m saying? I mean I was a simple man. It was no big master plan involved.

The art is just kind of a skill that I developed over these years, you know what I’m saying? My passion is working with youngsters and teaching kids how to draw. It’s kind of my way to help these guys learn something that’ll keep them interested and hopefully save their ass on the street. I released some shoes with Nike and we did 45 engagements for kids. Nike was sending buses out to these youth authorities, elementary schools, high schools, and junior high to pick up a bus load of kids.

You know what, man, I do that stuff because all this stuff is a mirage, all this stuff is a gift, all this stuff isn’t even real, man. The only thing that seems to be real is when I sit there and I help those kids draw. That’s something that you can’t buy in a store, it’s not bottled, it’s not packaged, it’s actually a one-one-one thing. It’s like, look, this is how I did it. I practiced, I practiced some more, and I practiced after that, and when I got done practicing, I started practicing on this other thing. I ain’t no role model, I’m just a grown man that does what he loves to do. A role model is someone like Mother Teresa, someone that really lives that life of giving. I’m still a knucklehead from the street. A lot of times I’m just focused on how much shit I can accumulate in life, how many toys I got. It seems to balance out when I’m working with a youngster and when I’m working with a kid, I ain’t thinking about myself, I ain’t thinking about how much shit I got, and I ain’t thinking about all the stuff I need to get. On the flip side of that shit, in the style of artwork that I draw, the way I look and the people I surround myself with, and the area I choose my company to be in, if I show up looking broke, punk rocker with a ripped shirt, I’ll be treated like that and I wont get no dough. I show up diamond endowed in a German car, they just have to give me money because they say, ‘this guy looks like he has money.’ So it’s like a double standard, fucked up game, I’ll be the martyr. If I’ve got to suffer and do the plasma screens and the paper plated props and the European whips, diamond chains and all that, I’ll suffer. I’ll be the one to fucking carry the cross on that one, but if I can help one kid, with all that shallow fucking material bullshit, I did the right thing.

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Todd James aka REAS is an internationally known artist and designer who spent the bulk of his childhood and adolescence watching cartoons, eating cereal, and writing graffiti. Through his work on NYC’s subway trains, as REAS, he mastered the practical challenges of good design at an early age. James’s commercial works include logos for clients such as the Beastie Boys, The Source, Eminem, Mobb Deep, and Redman, and remain some of rap music’s most enduring icons. As the Puppet Designer and as a Production Designer on Comedy Central’s hit show Crank Yankers, James’s singular aesthetic sensibility was introduced to a television audience with great success.On the fine art side, work by James has been shown at the 2000 Venice Biennale, the Institute of Contemporary Art in Philadelphia, the Tate Museum in Liverpool, and at Dietch Projects in NYC. Some recent paintings and his animated video installation, Beloved Fiend, are now traveling in the worldwide Beautiful Losers museum tour. James currently divides his time between Los Angeles, where he is a co-creator and executive producer of Cartoon Network’s Minoriteam, and New York, which is homebase for his company, REAS International.

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Ghariokwu Lemi is surely one of Africa’s best-kept secrets, a self taught illustrator, graphic designer and songwriter, what more could we ask for. He has gone on to be a pioneer in his field of art, and taught many students his ideology of art.Lemi has created over 2,000 album covers in his 30 year career and has received many awards including: Nigeria Music Award, Fame Music Award and Sleeve Designer of the Year Award. Some of his most well known covers were for Nigerian musical legend and creator of Afrobeat, Fela Anikulapo Kuti.

In July 2003, he participated in “Black President: The Art and Legacy of Fela Anikulapo Kuti” in NYC, contributing 13 pieces of all original art. On this trip, the president of MTV commissioned Lemi to paint his first painting on American soil. “Everybody’s Gotta Be Somebody” which then inspired film of the same name, which was screened at the Spitz Gallery (NYC) in October 2004.

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Scien and Klor have been big on the graffiti scene since 1989. When they discovered Neville Brody’s work on typography, graphic art became a logical extension of their graffiti writing. They produced their first digital graffiti pieces, and 123klan were the first to blend graffiti writing and graphic art on the web, making it not just an exhibition tool but a new creative medium. The screen, like a blank wall, became a space to be laid out. In parallel, the influence of graphic art could be seen on their walls; everything revolved around lettering. For these trailblazers, graffiti writing and graphic art are closely linked and, as they say themselves, “Style is the message.”

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Despite the name, Eine is from a small town in Kent, and is not actually German. He quit his high powered job in the city to become a career graffiti writer. Eine specializes in massive workings of letters across shop fronts, and his full name in paint all over the east end of London.

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Romon Kimin Yang aka Rostarr is a Korean-American artist who has been based in New York since 1989. He has exhibited his works throughout the United States, Japan and Europe. Although his foundations are rooted in graphic design, he is more recognized as a painter. His work is defined by an expression he calls ‘Graphysics’, which is based on Graphic Design + Physics (energy). Creating in a free-formed and automatic process, his work weaves an individual vocabulary of iconography and symbolism. Nature, human psychology and mysticism are inspirations that he tries to convey in his art. His work extends into the mediums of painting, digital media, sculpture, textiles and public art projects with the ‘Barnstormers’ collective, a core member since 1999. Emphasis on sponsorships and collaborations with such companies as Nike, Agnes B, Gravis, Yamaha, etc. have been an integral part of branding Rostarr internationally. In 2004, he was recognized as an honoree at the A.I.C.P. show held yearly at the MOMA, under ‘graphics’ for the Nike Basketball “Flow” commercial. His first book “Graphysics” was published in 2001 by Alife. In January 2000, he was featured as one of I.D. magazines “40 under 30″.
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To hear him say it, the crux of Andy Jenkins’ current work lies in his guilt. The guilt of one human’s consumption in a culture of excess. How does he channel this guilt? The man is a creative pack rat of amazing proportions. He saves every scrap of paper he comes in contact with. In 1995, he began using these notes, receipts, business cards, paper bags, envelopes in a series of works loosely entitled the “Post Consumption Guilt” series. You could call it a sort of recycling as the found objects background fodder for his neurotic, intricate, line art. Some pieces stand individually and others are actually sewn together into large paper “quilts”. He continues to nurture and refine this idea of regeneration today in his current series of paintings entitled “Ugly Beauty” after the composition by Thelonious Monk. Jenkins is also considering venturing into 3 dimension, as his home studio is being over-run with found objects as well.
“A few years ago I did a couple of… I guess you could call them sculptures, but they were really, toys. Dangerous toys made out of metal scraps, nails and various junk. I think I need to go there again before my wife kicks me out of the house with all my collections.” Most nights, you can find him hunched over his work on the floor of his kitchen studio or behind the keyboard of his laptop. If you’re curious what he does during the day, he’s been the creative director for the Girl Skateboard Company since it’s inception in 1993. To find out more or see some of his current work and projects, visit his personal web site at or the Art Dump Collective site at or the Girl umbrella site at Busy man, the Jenkins character.
– Carl Sanger
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Ben Drury was born in Cornwall in 1972. He is currently a freelance designer living and working in London. He was art director of the infamous Mo’Wax recordings as well as working extensively in the music industry. He maintains long-term creative collaborations with James Lavelle (Mo’Wax/Surrender) and William Bankhead (Mo’Wax/Answer). He worked closely with legendary artist Futura 2000 designing the artist’s monograph ”Futura”, published in 2000. He is currently working for numerous clients including WEA, XL recordings, Answer, Surrender, Nike, Channel 4, All Tomorrow’s Parties as well as curating his own personal project entitled ‘Trust Me London’ which is informed by a love of London’s underground pirate radio culture.
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Jim Phillips

Jim Phillips is best known for skateboard, surf and rock art. Born 1944, he lived mostly in Santa Cruz, Ca. His first published art was in Surfer Quarterly and his work was in many surfing and other publications since. Jim’s earliest job was working in surfboard fiberglass. He progressed to applying art on surfboards, and developed new and different ways to do it. After attending California College of Arts & Crafts in Oakland, Ca. in 65 and 66, he began a free-lance graphic service specializing in rock posters and other forms of advertising. From the urethane revolution in the mid-seventies, to 1990, he was art director for NHS/Santa Cruz Skateboards, creating hundreds of skateboard designs, including the Screaming Hand. Quoted by Thrasher Magazine, it’s “One of the most recognizable skateboard icons in the world”. Phillips created graphics for many of the industries top skateboarders like Hosoi, Natas, Roskopp and many other pro skateboarders. A book of his work, Surf Skate & Rock Art of Jim Phillips is available at Look for his soon to be released Rock Posters of Jim Phillips, also from Schiffer books and the Skateboard Art of Jim Phillips which is scheduled for 2007.
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Tet Tetsu Nishiyama

Tetsu Nishiyama aka TET was born in 1974 in Tokyo Japan. W)TAPS designer. Chief Editor for “PHILOSOPHY ZINE”. Creative Director of BLACKFLAG, which opened in the Aoyama district of Tokyo in 2005. His clothing career started in 1993, working side by side with SK8THING on the 40% AGAINST RIGHT label. In 1996, he started W)TAPS which is renown for military based styling and unparalleled garment quality. He also developed the CARGO line of and highly functional concept bags and accessories with YOSHIDA KABAN. TET has covered alot of ground outside of W)TAPS as well. His work was featured in the UNDERCOVER 2000 S/S collection in 1999 and in the same year he curated the experimental exhibition of Harajuku-based artists, photographers and label directors entitled MOUT. TET followed up with a “MOUT-exclusive” in 2000, directing the legendary COMMAND Z exhibition featuring FUTURA, STASH and other international and Japanese artists and labels. TET’s own artwork reflecting his experiences and relationships was exhibited at JFA in 2004. Whether directing ad campaigns or taking on outside design projects, TET is always expanding his sphere of creativity.


Tetsu Nishiyama, A.K.A. TET

The reason I started drawing Harleys is because Taki Shin (Shinsuke Takizawa from Neighborhood) had a Harley, and I wanted a Harley, too. Before that, I was riding a Japanese, Harley-like motorcycle, but I really wanted this, because it’s a real Harley. So I bought one, and that was the start. That’s how I got into Harleys.

Initially, it was Shin-chan (Taki Shin) who had a Harley. He taught me stuff, and my first motorcycle was this one here. So styles have since changed.

I was skateboarding because, at the time, it was something a teenager would choose to do. It was one of those things. I like American things. American commercials made a strong impact in Japan, and I was attracted to American commercials, so maybe that’s how I started skateboarding. It looked awesome. I think it was more popular back then than now. I don’t know.

If I was that age now, maybe things would be different. 14 years ago, I wanted something as an outlet — clothing or something. So the first thing I made was a silk-screen T-shirt. With Shin-chan (Sk8thing), we were called 40% and made T-shirts using silk-screen. That was the start.

We felt good and kept on doing it. We kept on doing it until it became our job. So, in a sense, it was a natural flow. So these concepts and inspirations that I have now, and my ideology and philosophy which my creation is based on today, they’re totally different from what they were back then. I’m now trying not to put too many sub-culture elements up front. Maybe it was different back then. Things have changed a little since then.

Mura and I have a private garage called “Spit” in Tamagawa, and like this, for motorbikes, I mean, we had all the equipment for them so we could fix here and build there. So, the ideas involved fixing, building, taking apart. That’s inspiration.

The way Harley is, there are elements other people can build on. It’s not quite complete. That incompleteness is attractive and free. It draws more ideas. Trying cutting them and so on. That leads to making them better. How can I say it? It looks simple and hard to ride, but the way they build allows others to add on.

This has been changed many times before it got to this shape. Not having much leads to simplicity, which leads to something cool. But you have to be able to ride it. You have to be able to ride it. If you can ride, that’s fine, but I can’t ride this every day. If it rains, I don’t want to ride. I don’t know. I’ve made it into something I find easy to ride. There’s still some room for playing with it.

I want to make clothing the same way — simple but something people can play with. I want to leave a little room for people to play with. In what I make and what I do, I do everything thinking that way.

I was born in Tokyo. Shibuya in Tokyo, so we had everything but didn’t have anything. It is a place which already finished evolving, so there is no “zero.” For me, this city is done developing, so I don’t have a good impression of Tokyo. And that image of Tokyo, to some people it might look good. It’s progressive. It’s “hip.” So in that sense it looks good, but for me it’s the worst place. But, since it is the worst place, I somehow feel proud of it. Being born there was the biggest influence on my life.

I wasn’t doing things wanting to become something in particular. For instance, when I was at school, I wasn’t studying for what I’d do after graduation. I wasn’t thinking about anything. I think I just jumped on what was happening at the time. What was big for me then was getting to know Hiroshi (Fujiwara), and Shin-chan (Sk8thing) and guys like that. That was what led me to what I do now.

The beginning happened just naturally, like the flow of a river. It was what the era was like; that’s how it happened. I took apart the engine and put it back together, to rebuild it. At the same time, I rebuilt the interior of the office. It’s been about two years since I did the interior decoration. And now I have certain skills. So maintaining and developing those skills, maybe that’s what I will be doing from now on.

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Marok Thomas Marecki

MAROK aka Thomas Marecki was born in 1972 in Berlin.• 1991-1994 study of graphic design
• 1995 founding LODOWN magazine
• 1997 production of the first video for LODOWN called SUPER LO8, all filmed on super 8 material
• 1999 co-founding the LODOWN ONLINE project
• 1999 publishing and creating the first LODOWN graphic book, called LODOWN ENGINEERING at ‘die gestalten verlag’
• 2001 publishing and creating the second LODOWN book called SCHIZOPHRENIC- ‘lodown Engineering part 2’ at ‘die gestalten verlag’.
• 2001 SCHIZOPHRENIC EXHIBITION @ ffwd gallery – Berlin
• 2001 finishing the second LODOWN video ‘SUPER LO8 part 2’
• 2002 ‘m – transforming language’, publication @ ‘die gestalten verlag’
• 2003 casual phrophecies, Marok solo exib.. Berlin
• 2004 Marok Gasbook 16 at Gasbook publ… japan
• 2005 superstar 35 book
• 2006 quitting LODOWN as art director

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Originally from Queens, New York. Time in San Francisco, California. Presently living and working in Brooklyn, New York. Perfected the Krink formula in California while searching for the ultimate in permanent ink. Krink world tour 2006. Accept no imitations. Painting, photography, sculpture, pushing product. Making it happen in money makin’.KR book dropping in 2006.

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Mode 2

Born in Mauritius in 1967, and moved to London in 1976 where he did most of his schooling. He has been drawing for as far back as he can remember, and spent most of his youth engulfed in comics, sci-fi and fantasy literature as well as role-playing games such as “Dungeons & Dragons.” Today he is one of the world’s great character graffiti artists, setting the bar for all aerosol artists with his crew The Chrome Angelz in the 1980’s. He now travels the seedier parts of the world drawing pictures of buxom ladies without them realizing it. Sooner or later, this will get him locked up.
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New york city 2006
1955: Introduction: new york city • 1955- 1969 Experience: limited • 1970: Invention: graffiti artist: dawn of a decade • 1971: Nom de plume: futura 2000 • 1972-1973: Education: minimal • 1974-1978: Military: honorable • 1979: Insertion: street art community • 1980: Exposure: subways & galleries: dawn of a decade • 1981: Influence: recognition • 1982: External: cultural exploration / exploitation • 1983: Conclusion: chemical imbalance • 1984: Soviet: moscow metro • 1985: Aftermath: death of a movement • 1986-1989: Employment: messenger • 1990: Computing: extensive: dawn of a decade • 1991: Acceleration: graphic design: painting • 1992: Professional: companies. Kinkos • 1993: Incorporation: tokyo • 1994: Medium: clothing • 1995: Transition: internet • 1996: Crossover: Bathing Ape: Mo Wax • 1997: Retail: reconnaissance • 1998: Extension: Futura Labratories. UNDER COVER • 1999: Production: three dimensional characters • 2000: Millennium: book release: dawn of a century • 2001: Commercial: Levis x Futura • 2002: Experience: advanced aerosol abilities • 2003: Placement: Nike. Medicom. North Face • 2004: Cache memory: toshiba • 2005: Hawaii: Steve Mc Garrett • 2006: Event Horizon: Silly Thing
Occupation: battery charger • Conclusion: the futura is written05.12.2006 Thank you..


I guess you got to go all the way back to my introduction to graffiti, here, in New York, in 1970. That’s when I came up with the name Futura 2000 and decided I was going to be a graffiti writer. In 1970, I was 15 and taking a train to school and really when I starting to see graffiti. Obviously, living in New York, at that time, you started to become aware of writing on the wall or whatever. I was just a fan of it and I thought there was something interesting about it, a little dangerous in the subway tunnels and a little bit of mystery, “How did they do it?” I got into my mischievous New York teenage period. I guess I just got turned off of the educational system and was more inspired by creating an identity, a sort of reputation, and getting famous, so I completely got sucked into that whole scene. For a couple of year, I was pretty much a full-time tagger. I was never really someone who did big pieces on the outside of trains, at that time, but was pretty prolific at getting up and having marker with me at all times with me or whatever.

I had a friend of mine named Ali, Mark Edmonds, he’s since passed away, but he’s the guy that actually got me into graffiti and he was kind of my partner and we started an organization called Soul Artist. In September of ’73, we were painting a train, here in the city, in the number one tunnel, and there was a fire, a sort of very unfortunate accident, and he was badly burned. Shortly after that, a lot of things kind of changed, my whole involvement with graffiti completely got turned off, so, I winded up joining the military and just left New York. But when I came back, Mark, Ali, who had recovered from the fire, was involved in starting this second phase of the Soul Artist, which was more legitimate. Artists were working on street projects/sign paintings. That’s when I met Hayes, Eric was part of that whole scene, and that was 1979. It that was my reintroduction to New York, to the movement and I witnessed, once again, what was happening in the street. Obviously, now, what’s happened is that underground street movement in New York, unbeknownst to us because we were not part of any art world movement, we were just simply these sub-culture icons or not really at that time, but little outlaw hero dudes that crossed over into New York social scene, where there was galleries, artist, people wanting to have exhibitions and that was the transition from being an underground subway writer in New York to kind of put on the map as an artist.

It’s become another part of continuous evolution of that creative person adapting to conditions and what’s available, what tools you have. At one point, the marker gave way to the spray can, the spray can had to live with the brush and have to keep adapting your mediums and now we have the this ability to share information a completely different level. It’s no longer localized to what you might see on a walk to somewhere and back, what you might view while you’re on the subway but it’s now this virtual expanse. So, for me, as an artist, as a communicator, the real changeover for me was the 90’s. It’s so hard to evolve into new things, when people hold on the olds things that they done.

For me, it’s all about the characters that I’ve created, that aren’t even a big deal for me but its something that people, locally and in Asia, wherever I have gone, people gravitate to, that whole universe of figures, Moax, Unkle, Pointman. I just hope I can continue to have some interesting ideas or happen upon something that people get and appreciate. I want to continue to justify my place by being productive and continually trying to come up with something.

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Dr. Revolt was born and raised in N.Y.C., an original member of the historic New York City graffiti crew, The Rolling Thunder Writers (RTW). Known for doing both tags and elaborate pieces on the Broadway #1 line with colorful psychedelic and comic art influenced stylings and later, taking it “all-city.” With his contributions to the seminal classic hip-hop films “Wild Style and “Style Wars”, various music videos and album covers, creating the classic “YO! MTV Raps” logo and a tour of duty in Baltimore where he, like a “messenger of style” single handedly kick-started a graff-scene that still feels his influence today, his place in the history of “graff-dom” is secure. His work has been and continues to be seen in various publications and art galleries globally.
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Born in New York City in 1961, as a member of the influential “Soul Artist” group, Haze was an essential part of the collective of artists who brought graffiti as an art form into the arena of art galleries and media consideration. Working and showing alongside artists such as Keith Haring and Jean-Michel Basquiat, Haze played an integral part in the New York underground and hip hop culture that emerged as a definitive theme of popular culture entering the early 80’s. Upon founding his NY based design studio in 1984, HAZE went on to design and produce a wide range of landmark works in the hip hop and entertainment communities, many of which proved to be both ground-breaking and definitive icons of the times, as well as setting the standard for the commercial viability of the aesthetic and emerging markets that signified “urban culture”. In 1991, HAZE moved his base of operations to Los Angeles where, alongside his design studio, he founded his current eponymous clothing company HAZE. As one of the pioneers of the streetwear movement, Haze and his company continue to define the cutting edge urban graphic and product design. With a growing international base, distribution and retail network, the impact of HAZE products now extends throughout the US, Asia and Europe. In addition to the line of graphics based prints, embroidery and sportswear oriented garments, the company HAZE has also consistently pushed the boundaries of the marriage between art, design and product, producing limited editions of jewelry, furniture, posters, skateboards and accessories. Having relocated his studio and company headquarters back to New York City in 2005, Haze continues to direct his international clothing brand and product line, while also maintaining his individual involvement in various art and design projects worldwide. Recent collaborations and products include sneaker designs for Nike and New Balance, a G-Shock watch for Casio, a Bearbrick design for Medicom Toys and a custom show car for Toyota/Scion.

Seriously, like and a busy week promoting. Like a crazy week in Japan where I’m like on all the time. I swear sometimes I come home thinking I’ve written my name like a thousand times in five days, easy.

When I went to design school, I don’t know that I really learned anything about art or design so much but I did learn to sort of intellectualize the process of what your doing and why your doing it. To elevate the game or take it to the next level you really do have to understand, you know, how you got to where you were in order to be able to take it to some new place. You know, it’s one thing to just write your name over and over again and be pure about it. When you can add some real intention and awareness of sort of how your shaping your work with the style it kind of takes on a deeper meaning.

I chose to sort of walk away from the fine art world. Partly for stylistic reasons but also because I never really was totally comfortable or totally bought in to the idea that graffiti had a place in galleries. Graffiti by definition is illegal. Graffiti in spirit is against the grain. The fine art world and some of the basis of being a painter is kind of bougois by nature. It’s elitist. It speaks for a monied class and a way to be successful in the fine art world you sort of have to reach this level of acceptance. Graffiti was not about acceptance. It was about self- empowerment and operating outside the framework of the so-called establishment.

Graffiti was so much populated in essence and in practice. It was by the people, for the people with no price tag and trains were the means of distribution, the means of exposure. At least with graph design and clothing it sort of mass production of it, it always felt much truer in that popular sense. There’s a choice there. Do you want to aspire to do one painting that you sell for a million dollars to one rich person? Or do you want to do a piece of art that can be reproduced a million times and a million people can own it for a buck? Intellectually and politically, I’d rather reach a million people as cheap and accessibly as possible. That was graffiti, you’re trying to reach the most people, you know, everybody who took that train to work got exposed and became part of the landscape of our lives.

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Kevin Lyons

Creation has flowed from Kevin Lyons since childhood and his track record runs the gambit. After graduating from the Rhode Island School of Design in film in 1992, Lyons went from Associate Producer at Nickelodeon/MTV to co-founding the NYC based design firm Stereo-Type, a driving force in the underground hip-hop scene that worked with New York club GIANT STEP, Soul Kitchen, 555 Soul and the LA-based Brass Recordings among others. He has worked both in and out-of-house for Nike, Spike Jonze, Girl Skateboards and a three-year stint as Art Director for Tokion magazine. In addition to doing several solo zines with Nieves, his work has been published in Thrasher, Relax, ID, LoDown, The Face and Huge Magazine. He has also written several articles for the AIGA Journal. Furthermore, he has taught at R.I.S.D., CalArts, Yale Graduate School of Design and Pratt Institute. His freelance clients include Nike Basketball, Jordan, Adidas and Stussy. Lyons now lives in Philadelphia where he maintains a small experimental project/company called Natural Born. He continues to work with SSUR as well as with his friends at Stussy Japan, HUF, Commonwealth Stacks, Stones Throw Records and Beams.

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Eric Elms was born and raised in California where he first started doing street art under the name ADORN. He studied design at Pratt Institute, and now works as a freelance designer, working and painting out of his studio based in Brooklyn, NYC. He has worked with such brands as NIKE, Shepard Fairey, SUPREME, KAWS, SSUR, Kevin Lyons, 2K, aNYthing and co-founded the clothing brand PriceLe$$. Eric’s work has been featured in such publications as Tokion, Relax, I.D., Mass Appeal, BeingHunted, Book Magazine, Made Magazine and HUGE. His paintings and screen prints have been in shows in all over the world.


I did this project where . . . I had always noticed the subway signs in the subway, and I was like, ‘Oh, I wonder if there’s a way to change those.’ I figured I had to break into the code and all this stuff. It was up for like five days. I didn’t think anything of it, because I was preparing to do more, all these funny sayings. My friend Gary calls me, he’s like, ‘Oh, look at the paper.’ I wrote ‘Pretty girls don’t ride the subway.’ I used to see models in SoHo when I worked there, and I’m like, ‘That girl definitely doesn’t ride the subway, there’s just no way,’ as a joke. I tried to find examples. It’s true, you know. Oh yes, they do. There’s proof there’s pretty girls. It’s so retarded. That was a funny little project I did for no reason. It’s a good adornment reference, I guess.

I’m from San Diego. When I was growing up, I think I drew, probably like all kids do. I paid attention to skate graphics. Those are the type of boards I bought. I remember all that stuff. I never really considered it an option as far as a career or wanted to do it. When I was in high school, I was a Matt Shepard Fairey. He was living in San Diego at the time running Black Market. I would see all the stuff around and I was kind of confused by it, just because it was San Diego and there was really nothing else going on there.

I knew how to screen print, so I ended up screen printing his posters when I was 16 and 17 and working in the office. That exposed me to that whole world and made design and art a tangible thing.

As far as painting, my mindset is pretty design oriented. I really think about it and I have to know what it’s going to look like before I start. That’s my design mind working into it. That’s why I like these paintings, because I can do the collage and think about it. It’s really graphic and I can use all these elements from all my design jobs. Then, it’s very methodical. I can make it into a painting, and I like the whole process of that.

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Born in Miami into a family of Cuban exiles, José Parla moved to Puerto Rico at a very early age before returning to Miami again when he was nine. He currently lives and works in New York, and is only recently reflective of the wanderings of today’s urban populations. In the context of these migrations and upheavals, José Parla’s work attempts to extract and methods of architectural construction: cement, wood, vinyl as well as those of traditional art like paper, paint, powder dye, wax and ink. Yet because these fragments are inflected by the memories and experience of the artist, he considers them to be paintings in sense that is probably truer that one that refers merely to the physical presence of pigments and oil. Parla describes the objects of his method as segmented realities or memory documents. Each bears the name of the location or experience from which it draws its source. José Parla lives and works in Brooklyn, NY. He was awarded the Francis Mc Common Scholarship to the Savannah College of Art & Design, Georgia in 1989. He was exhibited his work in various group and solo shows in Miami, Atlanta, New York, Los Angeles, Paris and Tokyo. His work is featured in the collections of Agnes B., Tom Ford, Katy Barker and has been published in The Miami Herald, Atlanta Journal Constitution, The Village Voice, Tokion, Rolling Stone, Another Magazine, Dazed & Confused, The Fader, Relax magazine in Japan and Refill magazine in Australia.

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Cousin Frank aka GHOST was born in the Bronx in the mid 60’s. He turned to the world of graffiti writing on walls to release aggression and to survive. He took to the tunnels and quickly learned how to navigate them well and even thrived there. Among other writers he quickly gained a reputation and became known for his “don’t give a fuck attitude” and for his tags and throw-ups which were everywhere, especially on trains. He also became recognized for his unique style and color schemes, as he began to paint full size pieces with crazy undulating lines and a funky look (he calls it his Bugaloo style). Unlike other writers he rarely planned what he was going to create, taking chances with both what and where he was going to write. Those familiar with graffiti history, call him one of the “die hards.” For his extreme attitude and relentless ambition to bomb trains – which he believes is the place where graffiti has the truest meaning. Because of this belief, and because Cousin Frank views his roots in graffiti as a matter of survival, he has never been comfortable with transferring what he did on the streets and trains onto canvas or into galleries. The development of his drawing style which bears the influence of his piecing style has allowed him to make a transition between both worlds. His black and white highly detailed pen and ink drawing style shares the same risky spontaneity of his pieces. Both possess the same distinctive undulating linear style with intricate patterning and fantasy dreamscape look. Here Cousin Frank also starts with no preconceived ideas, effecting surrealistic automatist drawing practices, as well as other surrealistic imagery. There is little room for error in his drawing technique. Just as there wasn’t in his bombing days. These constraints have been balanced out by the strange, almost playful humor of the artist’s characters, by his freaky sensibility, which he sums up as “burnt.” Cousin Frank’s newer paintings fuse some of those anthropomorphic fantasy characters of his drawings with the vibrant colors that his pieces are known for. These works combine the in-your-face energy and exteriority of his throw ups within the twisted fantastical interior workings of the artist unconscious.


I started writing graffiti around 78′, 79′. As far as painting canvases and drawing shit, I basically, couple years ago. I went through a series of names that didn’t really work out. Then one day I looked at Ghost Rider comic and said that is a pretty dope name. I got into writing because of vandalism; it wasn’t because I really wanted to be an artist. I always rebelled against that. So when it came to doing shit, yeah eventually you run into people and people are like this is how you do it. I would just cut school and I would ride the trains all day from one end of the stop to the other and that is how I started to find out where yards were. That is how I started to find out where (?) were. Basically go back every day and find out schedules, what time they parked, what time they pulled out. You know, it was all trial and error type shit. I can still remember the first day I rain on the tracks, fucking, it was a real fun time of my life. Like I said, I wasn’t much of an artist. I really didn’t know how to piece, I couldn’t even really do a (?) at the time. So it was basically just doing insides, vandalizing. I didn’t know how to fade colors, I didn’t know how to do anything. It was a real slow process for me. I just developed my own thing, man. This, I define as my style. A little bugged out, a little psychedelic. You can tell I was influenced a lot from the 60’s and 70’s. Just mainly with the drips. It’s like for a period of time writers were so caught up in busting out arrows that eventually, I just kind of came upon rock and drips and making my pieces melt or trying to make them almost like appear like they spattered on the wall. When I’m painting a canvas and I’m painting a train it’s two different mediums really. Here I have the opportunity to sit back and just chill and relax and kind of do things I could do on a train. What gets caught up with a lot of old graffiti artists is they think just by putting a piece on a canvas that is it. For me, depending on who it is, like if it’s someone I admired as a kid and seeing it on canvas, I can appreciate it. But I think a lot of times being an artist it’s about trying to evolve. Traditional graffiti is somewhat limiting. So I’m just trying to see what I come up with, that’s all man. I get off on it man, you know? I just kind of bug out. Sometimes I’ll just sit here and stare at the colors. I don’t do drugs anymore so this is all I got.

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Taka Hayashi

A self taught painter/illustrator/graphic designer, Taka was born in Yokohama, Japan in 1971. He moved to the U.S. in 1981 and relocated himself in Santa Monica where the early 80’s Skateboarding scene had a huge impact on his life and art. He began drawing at a very early age and spent most of it either skating or experimenting with art. Some of his past projects have been for Vans Syndicate, 74, Union LA, and LAMF a new clothing company by the Cult’s lead singer Ian Astbury. He currently works with Stussy, where he has been designing for two and a half years. On top of his busy schedule, he is still able to work on his own t-shirt project called Destroy Your Enemy aka DxYxEx.

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Once you get over the mispronunciation or misspelling of the name… it’s PUSHEAD. No cats, no doors to pull, just the oozing type, know what I mean? Pushead is currently celebrating the 25th anniversary of the nomme de plume. From roots that began in Boise, Idaho, where iconic classics such as the Misfits ‘Evileye’ and the Exploited ‘Mohican Skull’ were created, to the double decade home stand in San Francisco, where it all began to gel. Metallica, going on 20 years of merch with the created Damaged Skull, to Motley Crue, Corrosion of Conformity, Prong, Cocobat, Kylesa, and even the infamous Dr. Octagon cover are just the tip of the iceberg. A widely recognized part of the skateboard and hardcore punk world, with graphics for Zorlac, Thrasher (where the cult following of the ‘Puszone’ grew), Conspiracy, and the list goes on. Record labels, clothing companies, merchandise, toys, consultant, vocalist / songwriter, and not to mention those endless hours of scratching away on white paper, which seems to be what most people know Pushead for. Somewhere, somehow, if you did or didn’t know, a Pushead piece has pass by you sometime. Everything else is just a name game.

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Cousin of famous serial killer Richard Ramirez, young Neck Face decided that instead of killing people he would put his killing on to the streets. Neck Face has done graffiti in cities all over the world. Neck Face says “there are still some cities that haven’t had their spines touched.” Inspired by heavy metal, Neck Face runs rampant throughout cities world wide. Neck Face is originally from Northern California and currently resides in New York City and Australia.


I am Nasty Neck Face. The bell witch. The lord of lies. The best man. The name came from the witches that raised me that had green skin. I didn’t choose the name. The name chose me. It just appeared out of nowhere. It just accepted me as the chosen one. This is one of my recent pieces that I’ve done. This guy is one of the guys that I saw during the night. He has an axe tattooo. A pentagram on his forehead. Tongue sticking out. This girl is divorced, but when she was married, she got the wedding cake tattooed on her neck.

I’ve always been painting since I can remember. I just started noticing it more when I was in high school. The things I started to draw and paint have always been the same , violence, monsters, superheroes, villains, dark humor, things that would make my sick mind laugh. So I’ve always been into graffiti, since I was really young, and then high school is when I started doing it for myself. I had to discover my roots, and what I liked about graffiti is making people mad and making people laugh.

This guy wearing sunglasses at night, eight ball on his neck, eagle on his neck, F for Freddy, upside-down eight. This guy is a playboy with playboy tattoos on his neck. Upside-down spade on his forehead, which means bad things. It’s definitely still important to go out on the streets and keep letting people know that you’re still out there, you’re still alive, you’re still doing your own thing. Because, as soon as you stop doing that is when you stop remembering how you got where you are. I like to keep it on the streets as much as I can. That’s how I think it should be always for me, because that’s what got me here. That’s why people know about me. I can’t forget that and I don’t want them to forget that.

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Kostas Seremetis

[American Painter born in 1972]
“Everything in my spectrum is accounted for and I define myself in a creative process. I am only a conduit in my actions of creation.”


The truth of the matter is, when I expose my work, I don’t like putting a picture of myself in the picture because I feel like the work is f***ing way more superior than me as a human being.

I don’t know what was the connection. I think I had a massive case of ADD, you know? Comics were kind of like more stronger than words some how. Comics was something that I could comprehend; visually, mentally, and the 2D-ness of it was kind of interesting. I think the truth would be, like when I was very young I was exposed to Subway Art — that book by Martha Cooper and Harry Chalfant, and that was even more engulfed in flames of ideas. I thought that sh** was just awesome.

I grew up in Boston, but I was born in West Roxbury, Massechusetts. When I was young I used to fill in for my brother. He wrote Plaid 132. Yeah, my brother is really a big influence because there were really cool at drawing, and the three of us, and we both kind of found our different paths. One brother is a graphic designer. The other brother customizes hot rods.

I was exhibiting my work at the age of 19. I moved to New York when I was 23? That lapsed time between 19 and 23 I gave Boston everything that I had. I never had an established career in graffiti or a lack of interest in that, but the sentiment of that is what I wanted. That’s what I wanted to do with my paintings.

This one right here, which is FFF, stands for Fearless Front Facer or Fight For Freedom, and I used that title later for the exhibition in Australia, but the painting never went. I think I was working on it during the time. This one I think might be incomplete. I don’t know. I’m kind of having second thoughts about it.

Skulls. I was Crash’s assistant for a while. Kind of like artist apprentice. Helping his stretch canvases and helping gesso canvases. Never painting, never filled in, just cleaned up the studio, but good times, what have you. This guy has been very inspirational for damned sure. Brian Bolland is a killer, like Judge Dredd artist.

When I first made it, I was going for building my own flag out of objects, and I don’t know how it turned out. I like it but, I don’t know. It’s a bit confusing, but it’s fun to look at.

James Jebbia bought some paintings from me, and then later Eddy [SP] contacted me about painting Union L.A. I painted Union L.A., and that was during spray paint and comic series. Early — we’re talking 1999. Then that spawned Stussy-Japan. They flew me over to paint their Shinjuku store. When that Japan thing more or less started kicking, of course it was exciting in being able to say, “OK, well I’m flying to Japan for nine days to do this” and then I’ve got to go back to Hong Kong, and now I’m doing something in Berlin because of the Japan thing. At the same time we’re making all these things, more or less products. it just grew, and grew and grew, and I used it more as a platform so I could continue painting and continue exhibiting my work. All in all it’s quite amazing.

I’m looking at the bigger picture. I’m looking at, not so much the next painting, but the next 40 years of painting and then the catalog of painting, following the work and seeing the history in it. It’s cool. That’s what I’m looking for.

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Grey PVC

Raised in Albuquerque, NM gave GREY the fire to get out of middle America ASAP. He spent his youth skating and sleeping at Embarcadero, touring with renowned bands, and collecting every Helen Love record ever made. When he’s not producing breakcore pop or breaking hearts in Brixton, he can be found painting his name on trains across the world, starring in Kylie Minogue videos and making up alternate lyrics to RBL Posse songs. GREY’s work has appeared in The Art of Getting Over, Morning Wood, Thrasher, Hair News Now, Artweek, Shoplifters Quarterly, XLR8R, and While You Were Sleeping, among others.

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Boris Tellegen aka Delta is a visual artist who works primarily in the field of graffiti painting. In his visually spectacular work, Delta significantly transforms both the traditional presentation mode of visual art, as well as the genre of graffiti painting itself. He introduces an alien and idiosyncratic aesthetic into graffiti painting that escapes the common logo-like word ID’s that make up most of graffiti production. Simultaneously he significantly transforms the domain of visual art by introducing an abstract and highly architectural style of painting, in a literal sense, to the street, and to the often illicit context of graffiti and street painting.

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Rob Abeyta

Rob Abeyta Jr. is painter, designer and art director living in the harbor area of Los Angeles. Currently, he is working with NIKE as the senior designer on a new line of sneakers & apparel to rollout later this year. In addition, he is a member of SA Studios creative team with Mr. Cartoon and Estevan Oriol. His past works have included collaborations with Spike Jonze, French Director and Academy Award Winner Michel Gondry and numerous music packaging designs ranging from the seminal punk band LOS CRUDOS, to The Transplants, to LA hip hop legends MACK 10, Cypress Hill and DJ Quick. Other works include the design of numerous skateboards and apparel while working as an Art Director for Fourstar Clothing at the Girl Skateboard Companies. While design and art direction take up his days, the nights are taken up by learning the process of tattooing with Mr. Cartoon.

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This is actually like a silk screen I took, and I had a print made of it, like a film, and I reprinted a bunch of them. I was thinking you could put it up to a light and get the back lighting. I was trying to utilize the phone booth better. In 1993 is when I first started doing regular pieces over billboards in Jersey, and then that led into the bus shelters and phone booths around 1995 or 1996.

The last ones that I was doing were just painted on paper. Then I would paint out the black and leave the white of the paper, so you could see it from blocks. It was only when I started doing phone booths and bus stops that I started doing characters. Before I was mostly painting over Marlboro, Camel, and all these cigarette and liquor companies, or the type of stuff you find on billboards. With the phone booths and kiosks, it was all fashion stuff, so it was girls. Then I started also getting into thinking about how to reach a broader audience.

I had this bag made that it fit phone booths in it, and I would be on my bike and I keep rolling then and stuffing them in this bag, and they would expand until it just got tighter and tighter. I didn’t drive, and I still don’t drive. If I had a car back then? Forget it, there would be no advertising in Manhattan.

This is one of the hairiest spots that I ever did. This is right at Time’s Square, and it was congested with people. There was a police house here and all these police dudes outside. It was one of the most intense sort of times.

When I was photographing all this stuff the ad was only really part of it. I kind of really wanted to get the whole sort of vibe. This chick was wearing the same color outfit. It’s like — reality — advertising. One time I stole a whole bunch of ads in France and put them up down Houston Street. Houston was in French for a day or two. I was young. It was the first time I was ever traveling, the first time I was seeing these other countries, just bugging out. People take tourist shots, I would do a phone booth or a bus shelter.

That’s Figaro, a French magazine. These three are French. This is a magazine called Julius. This was on the street, too. With these I saw that they were changing them down the street, down Houston. They were down here changing them, and I said, “F***, I’m grabbing mine”, and I just took them back out. The thing is I used to have the keys for the Masterlock, so it was like I could put it in and take it out. These are the only ones that I took back out.

This is before, really, there was any frenzy of companies approaching street artists or graffiti artists. At that time, all those fashion companies never even imagined; the combination of it, too, was strange. There was a nice dynamic. Now I wouldn’t even want to do it because people would just think it was a campaign that I did. Honestly, I didn’t get paid for it, so why the hell?

This time, in the 1990s, was a good time for advertisements, and then it got really lame. That’s another reason why I lost interest in it.

When I got out of high school I took a semester off, and then I went to The School of Visual Arts, and I studied illustration. I would just do painting day and night. It was oil painting, realist and into Gerome, Bougereau and all this classic sh**. When I got out of school, I would be out at night painting graffiti, and doing loud, sort of high contrast paintings. The two never really mended, so I just stopped painting in oil.

I used to steal so many of these ads that . . . I don’t even know what that is. I’m kind of content with what I’m doing now, I just want to do it at a different scale and different quality level. As long as I can keep pushing what my capabilities are, I’m psyched.


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Geoff McFetridge is a graphic artist based in Los Angeles, California. He creates work for clients within the traditional world of graphic design as well as on projects that test those boundaries of his job description. This unbounded approach to doing art and design is a definitive aspect of his work.After graduating from the MFA Design program at the California Institute of the Arts he became art director for Grand Royal Magazine from 1995-1997. Although at first glance he appears only to have himself as a client, he has a stellar list of clients; Patagonia, Stussy, Burton Snowboards, Marc Jacobs, Lignet Roset, Milk Fed, Girl Skateboards, Hermes, and Greenpeace. He’s designed a shoe and watch for Nike. Over the years he has produced; toys, skateboards, sandbags, wallpaper, fabrics, couches, bikes, books, stickers, sweaters, sunglasses, films, songs and poems. His “mini-poster packs” are part of SFMOMA’s permanent collection. He has had solo shows at Colette in Paris, Parco Gallery in Tokyo, Spiritroom Berlin, Kemistry Gallery London and George’s and New Image Art in Los Angeles. His work is currently part of the touring museum show “Beautiful Losers” which is touring internationally. His titling work includes Spike Jonzes film “Adaptation” and the doodle-ridden sequence for Sofia Coppola’s The Virgin Suicides. His music videos and commercials for clients like Hewlett-Packard, Pepsi, Napster and the ESPN Winter X-Games have garnered awards and attention at numerous festivals. McFetridge was featured in the Smithsonian’s Cooper-Hewitt Design triennial and the California Design Biennial in 2003.


When you boil some of your essences, it’s actually really simple and kind of, it’s not really that interesting. But when you boil some of these essences in an unusual way, that to me is interesting. So it’s like taking the long way to get to a point. Riddles are about clear ideas. A riddle about something really confusing doesn’t really work. A riddle is about a simple thing, but it’s circular language. It’s like how many times can you say, ‘What came first: the chicken or the egg,’ In with a visual. For me, everything I do is about how things operate in relationship to each other. So it’s like eggs and chickens and how many times can I say that. He’s at a potter’s wheel and his head is becoming the pot and it’s my mind, or me, becoming my art. There’s definitely this thread in my work and it’s not, it can’t be summed up as easily as simplifying things. But there are things that definitely when I look back and I look what I’m doing now, and there are central. The thing I notice that’s crazy is I can look back ten years ago and it’s the same ideas. The ideas are really the same. It’s like all the same stuff, which is hard to describe, but it’s the same ideas. It’s like a house, it looks like a house in my opinion, and a bridge, looks like a bridge in my opinion, it’s never an interesting version of a bridge it’s the most basic version. Everything is kind of basic but you’re taking the long way to get there. Simplicity is kind of confrontational in that if it’s a very quick read, you have no choice but to read it. Like when you’re walking down the street it’s like ‘Fubu’, ‘Pepsi’, whatever, there’s that fast read experience. For some reason, I pursued that, and I still pursued that. The idea of the fast read, and how complicated can the idea be behind the fast read. If a guy’s playing piano and his fingers are piano keys, it’s this fast read but this ambiguous way of talking about creativity, inspiration. I always thought, ‘I’m gonna draw forever,’ and that’s the way I’m going to work. I thought I’d be an architect or something because I didn’t know you could do graphics. I think it’s the way I grew up, it’s not like there was the option to be an artist. You need a job. My dad was a lawyer, my mom was a teacher, and I was like, ‘What kind of job can I get where I draw?’ Then it’s kind of through making zeens [SP] and doing skateboards for just drawing on skateboards or whatever and doing posters. Then I started doing t-shirts for the shop that sponsored me for skateboarding. You slowly realize, ‘Oh I can just do this.’ I want to take graphics and do it as part of a show. And I want to do animation and film work. And that’s just what I did. Anything that came, if like someone came for me to do a poster I’d say, ‘Well what if I did an animation for you for this or that?’ I’d just push this kind of work and just focused on that. I knew being a graphic designer in any sort of traditional way there was no way it was gonna work out. That’s just still what I do to this day.

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Steve Powers aka ESPO wrote graffiti, authored The Art Of Getting Over, co-founded The Indelible Market / Street Market with Barry McGee and Todd James, authored First and Fifteenth Pop Art Short Stories, designed a plastic sneaker that indicted consumer and corporation alike, contributed illustrations to the New Yorker, created raincoats for people he admired and flyer passers on Canal Street, founded the Dreamland Artist Club and got new signs painted on half of Coney Island, and is currently making paintings and writing a novel. He lives in Manhattan.

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Based in Lille/ France. Graphic Designer / Illustrator. His monsters/ghosts are more ridiculous than horrible. They are the mirror of what we have in mind (fear, hate, power, money, madness). The monsters/ghosts are monsters we can find in a freak show, they can make us laugh, fear or vomit but they are not monsters they are more humans than humans. He works on different creative media: t-shirts, jeans, caps, skates, toys, plush, CD covers, magazine covers and magazine illustrations, motions, web design, paint, graff, draw… Clients: Xbox, Artoyz, Stussy, Carhartt, Spies, String Repubic, Wcube, Zslide, Clark, Play Imaginative, Kid Robot, The Lazy Dog, Territory, Level Art, Pyramid, Belio, Creative Review, Steve House, Madl, Ride the Rockett, Vaporz, Mass Appeal…
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Cody Hudson, works under the name Struggle Inc., is a Chicago based commercial artist and painter. He is known for work that has a bold, organic and modern feel to it. He has worked on everything from skateboard graphics to national billboard campaigns to mixtape covers. His paintings have been exhibited throughout the US, Europe & Japan. He enjoys ice fishing, sleeping, reading and things made of wood.
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A bi-racial wunderkind with good hair, Brent Rollins was born and raised in South (Central) LA but now lives in Brooklyn. He began his career at age 18, designing club flyers and movie logos for classic flicks such as ‘Mo Better Blues’, ‘Boyz N The Hood’, and ‘Dead Presidents’. From 1994-96, he art directed the misunderstood bastard step-child magazine Rap Pages for publisher Larry Flynt.WORD. CLUB FLYERS, MOVIE LOGOS AND PORNOGRAPHERS. HOW VERY… 90’S. WHAT ABOUT MORE RECENTLY?
BR’s signature graphic collages and art direction have blessed tees for Supreme and HVW8, cover art for Spank Rock, Gang Starr, Dilated Peoples, Mos Def and Talib Kweli’s BlackStar, Lyrics Born, Blackalicious, blah blah blah blah blah!… and Bobbito Garcia’s sneaker bible, “Where’d You Get Those?” among many, many others.
As the opposable thumb in NYC’s five-fingers-of-death media squadron known as “ego trip” BR has co-authored two books (“ego trip’s Book of Rap Lists” and “Big Book of Racism!”). He co- produced their VH1 network
specials (“ego trip’s Race-O-Rama!”). BR also designed/art directed those shows, and new projects are in progress.
In recent years he’s created collage murals for Nike, UNDFTD in Santa Monica and exhibited at the Cincinnati Contemporary Arts Center (a collab with photographer Jamil GS). His work has been featured in IDN, Tokion, XLR8R and Made.
And to quote the late, great Mister Notorious Biggie… “if don’t know, now you know, n*gga”


I do graphic design, but I also try to mix a little bit more of a personal statement or a little bit of a personal hand into the stuff that I do. I’ve been living out here in New York for nine years, but I’m originally from Los Angeles. I got started when I was relatively young, like around 18, 19 years old, so I was working on album covers and movie logos and stuff. The first logo I did was for Spike Lee’s Mo’ Better Blues. That was kind of crazy because I’m 19 years old and you see some work that you’ve done professionally on billboards and bus stops and all that kind of stuff.

I wanted to get into doing album covers. One of the ways I got started was one by [??] Lester, who was editor and chief of a magazine call Rap Pages in L.A. I got to doing hip hop mags, so I figured it would be a good way to get in touch with artists that I was fans of. The Blackalicious album cover was cool because X from the group said, ‘I want you to do what no one else would let you do.’ This was all collaged. I’d always liked playing with the idea of dimension and depth, like 2D in a 3D space. I came up with the basic image of the kids playing with all the musical instruments, and these were all images that were found from old magazines. I assembled it and I gave it to D plus. This was his original, he found this location. I had everything output onto film and got another layer, glass with more images, and put them on top, and finally there was a third, and then we backlit it.

I like design. If you take already existing stuff, fonts, pictures or whatever, and then you figure how to put them together. I always wanted to push that even a little bit further.

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Since the early 90’s, Skatething has been a significant design and direction influence in Tokyo’s independent and underground fashion and cultural scene. Never to be constrained by medium or genre, Skatething’s creativity has found myriad outlets, among them his work in Asuka-plublished magazine “A Monster Party of Tears”, sleeve art for Kan Takagi album “Warrior” and Youth’s “Suicide”, and his picture work, J.O.Y “The Freedom of Space”and “Cobra A Mansion / A Marionette Show” are personal highlights. Skatething’s current passion is the Japanese mobile phone site “The End.”

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Birth: 1981 • Resides: South London
London based Graphic Artist Mark Ward, graduated from Central St Martins, and has since worked freelance for such brands as Stussy, Nike, Medicom Toys, New Balance and Island Records. At the ripe old age of 25, he’s a washed-up skateboarder turned snowboarder with a dodgy knee, who concentrates more on the graphics than the tricks these days. Mark doesn’t like to take himself too seriously, but is serious about his artwork. Heavily influenced by the worldwide graffiti scene, Mark’s interest began with spraying his Dad’s patio in leafy Surrey, which didn’t go down too well. We’re pleased to say he’s come a long way since then…
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Mark Gonzales aka “Gonz” is a professional skateboarder, known as a pioneer of street skating. He is also an accomplished artist, poet and author. His brand, Krooked skateboards is a respected and revered part of the skateboarding industry. His books, “Social Problems”, “Broken Poems” and “High Tech Poetry” have all received critical praise. His drawings, sculptures and paintings exhibit internationally. Mark Gonzales currently resides in New York City.
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Michael Leon co-created the skate/lifestyle brands Commonwealth Stacks and Rasa Libre and is one of the most influential characters in the skate & design community. He art directed the Fourstar Clothing line and has contributed designs to Stussy, DC, Arkitip, and Virgin Records among others. Michael’s artwork has been shown in Europe, Canada, and Japan, as well as recent solo exhibitions in the US. He is currently working as an art director at Nike in Beaverton, Oregon.
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Besides being a US bomber used in the second World War, Flying Fortress is the name of a German born graffiti artist. Starting off 14 years ago as your traditional graffiti artist, armed with a can of paint and good night vision, Flying Fortress became jaded with letters and trains and started to focus on new ways to do it. He searched for a for an ego logo to put on the streets instead of the traditional tags everyone else was doing. He eventually made the jump from graffiti artist to graphic designer.
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Texas-born illustrator, painter, designer and part-time musician, Gary Panter is a child of the ’50s who blossomed in the full glare of the psychedelic ’60s and, after surviving underground during the ’70s, finally made his mark in the ’80s as head set designer for the successful kid/adult TV show Pee Wee’s Playhouse, a job which brought his jagged art and surreal cartoon ideas into the homes of America and bagged him three Emmy Awards. With Pee Wee, Panter created another world, a fantasy extension of his natural studio habitat which was constructed out of a collection of garbage and buried treasure. In the same way that Francis Bacon surrounded himself with images that inspired him to carve out his grotesques in oil paint, so Panter gathered around himself the rubble of his childhood to create Pee Wee and the host of lovable (yet strange) characters which inhabit his Playhouse.Possibly the most influential graphic artist of his generation, a fact acknowledged by the Chrysler Design award he received in 2000, Gary Panter has been everything from an underground cartoonist to an interior designer (for a crèche inside the Philippe Starck-designed Paramount Hotel in New York) to an internet animator (his Pink Donkey and the Fly series can be seen online at Cartoon Network’s web site). He is also the creator of Jimbo, a post-nuclear punk-rock cartoon character whose adventures were first chronicled as a comic strip in the ’70s LA hard core-punk paper Slash and later in RAW magazine. Although the inspiration for Jimbo was partly rooted in the ’60s underground comix movement, other influences such as Japanese monster movies, cheap commercial packaging, the work of Marvel comics artist Jack Kirby, Mothers Of Invention house artist Cal Schenkel, and the writing of cult science fiction author Philip K. Dick leaked into the project. All of which gave Jimbo a startlingly fresh look that was subliminally familiar yet defiantly oddball.
-Edwin Pouncy


This is my record from Overheat Records in Japan in the early ’80s, ‘Pray for Smurf’. I wanted to name it ‘Smurfy Beaver Shots’, but Matt Grainy [SP] talked me out of it. It’s kind of [??], psychedelic country music.

Back in the ’70’s, I started painting in this format on heavy watercolor paper with acrylic, and I’m still doing it 35 years later. All my stuff starts in sketchbooks. I’ve been doing them since the late ’60s. There’s a ceiling idea for a light show of floating helium balloons above a perforated ceiling that has air jets that can blast the balloons, and then it lets in light from above.

I worked as a janitor in an insurance building, and then I worked at a printing place, a dot-etcher at a color separation place for a year in Dallas after school. Then I went to LA in ’76 until ’86. When I got there, it was really right at the beginning of punk rock. These are the ones that are in the gallery show now. They end up framed under glass. It’s nice that way, but it’s also nice that they have a nice surface. When you see one on canvas, you’re actually seeing it without glass in front of it, which is kind of nice.

Here’s another old sketchbook. It looks like it’s hundreds of years old, but it’s not. It just got worn out from handling too much. At art school, I had been drawing this kind of jaggedy type of style since about ’72, and couldn’t find a place for it. When punk came out, I saw Slash magazine, and it looked like the same kind of stuff: black, ripped up, and black and white. After that, it had a place to be.

I have this character Jimbo who is a punk rocker, and he started out just having adventures that are punk rocker. Over the years, I guess I decided nobody was reading this, and so I would just amuse myself with it. It’s gotten stranger and stranger. For 10 years, I’ve been drawing this monthly strip in a Japanese reggae magazine called ‘Riddim’. It’s a serealistic strip and it’s more poetic than literal, in a way. I think up the story every month, and then I typically don’t tell the story.

My father is a cowboy and Indian painter. He’s a real cowboy. He’s got a hat and boots and cuts brush and all that stuff. He tends to go back and forth between these emblematic kinds of paintings and the more illusionistic kind of paintings, because he’s half Indian, half Choctaw.

Paintings just gradually change over time. I’ll come up with some idea and do a lot of variations on it, like these white on black paintings, and I’ll move on. I might come back to it or use it as a part of something else. It’s got a title down there, I don’t know what it’s called.

Paul Reubens has approached me to do a poster for a stage show he wanted to do, and years later, that led to designing the ‘Pee-wee’s Playhouse’ TV show. Paul and I are still friends, and we’re still working on new ideas all the time.

‘Keyhole’, it’s called ‘Keyhole’. The titles are a little bit arbitrary. Sometimes to get titles, I have this big book that lists sound effects. It’s all part of the same project in a way. The sketchbooks are fun and vital. Comics are really hard. They take hundreds of hours and I have to erase it over and over and over to even make it look crappy. Painting is kind of like zen. Anyway, that’s what my paintings are about.

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KEGR began painting at the age of 16. Since then he has been working under many different aliases, teasing people and other graffiti writers, as well as learning new experiences along the way. Between 1994-2000 his main artistic concentration was trains, but has since moved on to trucks driving through the city streets. Throughout his travels he has done a lot of painting, biking and stealing.
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From the highest highs to the lowest lows, a New York Thing can be anything, and no one knows this better than Aaron Bondaroff who goes by the moniker A-Ron the Downtown Don, founder of the New York City-based creative collective aNYthing.It’s been an exciting ride for A-Ron since he was a 15 year old high school dropout in 1992. While his first introduction to the streetwear scene was getting caught stealing at the legendary Union boutique, he soon found himself entrenched in a world of downtown kids who would become his extended family and inspiration for the future.

In 1994, he captured the attention of James Jebbia, founder of New York’s most exclusive skate label Supreme, and was hired to work in the newly-opened Lafayette Street retail flagship of the insider-y brand. From shop boy to marketing guru, to creative consultant and public face, Bondaroff climbed the ranks quickly and learned the ropes of what could surely be dubbed “organic branding.” For six years, Bondaroff curated photo shoots, merchandised collections, occasionally modeled and drew upon the talent of creative friends like photographer Ryan McGinley or artist Dan Colen for the benefit of the Supreme brand. In the office or in the shop, Bondaroff naturally made moves that kept Supreme in demand for six years.
Networking – that intuitive, enigmatic skill that combines social grace, a charming like ability, an inquisitive nature and underlying love of humanity – comes easily to Bondaroff. His mixed (Puerto Rican and Brooklyn Jewish) background, a liberal and open upbringing and his purely native New Yorker high tolerance for both different strokes and different folks, have granted Bondaroff a healthy does of magnetism coupled with a genuine interest in alternative perspectives. His post at Supreme allowed him easy access to a mixed bag cast of downtown characters – skaters, graff heads, weirdoes, painters, club kids, nerds, lesbians, poets, thugs and everything in between. Their cumulative energy epitomized the oft talked about energy of New York City, and thus became Bondaroff’s passion.
Inspired by the way the city came together as a unified force in the days after the monumental and horrific events that took place on 9/11/01, Bondaroff founded the brand aNYthing – his personal vision for the future distilled from his vast social circle and his love for the big city. It began with T-Shirts, but has become a social contagion. There is the aNYthing line of clothing that is graphically inspired by the iconography of local sports teams, advertisements and other essentially NYC eye candy, the aNYthing retail shop on Hester Street, deep in the bowels of downtown at a symbolic crossroads of ethnic enclaves and the aNYthing record label, made up of diverse talents and rising stars from the city’s underground. Each arm of the aNYthing brand is an expression of a new bohemia, a modern counterculture made up of misfits and dreamers all stamped with approval by A-Ron – the pied piper, the connector, or as he is called, the Downtown Don.

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No one embodies the true meaning of street wear, with all its contradictions and many different facets more than Andrew Lee and his brand invisible:man. Fact is, street wear is impossible to create or to learn at a college. It is a manifestation of person’s lifestyle, in a very peculiar time, which has spawned an unprecedented multi- faceted sub-culture, which is nearly impossible to project in its entirety. Well, almost. Andrew, through his label invisible:man, has managed, to not only represent this amazing sub-culture, but also lead and shape it into which no one has been able to do so before him.Be it through his clothing collections that not only have achieved cult status in Tokyo, New York, London, L.A. and Berlin but also through his omnipotent reach and influence as a freelance designer for brands such as Stussy, Neighborhood, the Japanese skateboard company T-19, Real Mad Hectic, Kinetics, or global footwear companies such as ès and Madfoot. Additionally, his work, is being recognized by the couture world, thanks to his attention to detail and exceptionally high standards in regards to quality as well as his ability to not only predict trends, but to set them. Andrew sets the standards which the world of fashion, design and life style try to follow, but by the time they get to his level he is already way ahead of everyone else.
Upon moving to Califoria, Andrew has opend his Commissary shops, in San Diego and Costa Mesa, Stocking his friends and families brands…
-Steven Vogel

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Born in 1971 in Tokyo. Moved to the UK in 1992 and worked at Cuts Soho. Started work for G5 in 1995. A designer for one of the world’s leading underground streetwear labels – the UK offshoot of Tokyo’s GoodEnough. Her graphics have also been used by the labels Gimme5, Undercover, aNYthing, Nike, Mad Hectic, Let it ride and A Bathing Ape, and she is known for her all-over t-shirt prints.
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MadHectic started in 1994 as a store that sold assorted imported American streetwear in Harajuku. They pioneered bringing American streetwear to Tokyo and were responsible for introducing brands such as Sarcastic and Subware into Japan. Over the years, MadHectic kept their store in Harajuku as a streetwear retailer that sold exclusive independent Japanese and American labels, and at the same time worked on creating their own MadHectic brand. MadHectic was started by two individuals: Magara and Yoshifumi Egawa (aka Yoppi). Yoppi has been supporting Stussy since the early 90s as the unofficial Stussy model in Japan. Currently for Madhectic, Yoppi is creative director/co-owner. Magara is the other co-owner, and has started a sub-label of Madhectic called Masterpiece which also has a record label and sound system. Masterpiece has done several collaborations with Stussy over the years. This World Tour graphic was designed by Akeem, who is the current art director for MadHectic. Akeem has also contributed other designs to Stussy in the past.
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Leilow was established in 2003 in Honolulu, Hawaii by DJ & NY Stussy Tribe member, Jules Gayton aka DJ Jules. After years of traveing the globe deejaying, Jules decided to slow down in Hawaii and LEILOW. Jules now combines his passions for music and art, skateboarding and surfing, vintage clothes and collecting into all things LEILOW. Keep it on the down low, Leilow. Aloha.
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Rogue Status is a collective spearheaded by Johan Esbensen, Rob Dyrdek, and Rex Holloway which creates controversial clothing designed to extort a response. For better or for worse, many of their designs referencing current events have fueled dialogue throughout the world. This version of the World Tour t-shirt references cities with a powerful historical and political relevance. LIVE AWOL.
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