Fall 2021
Somehow, amidst the glamour of runway shows, editorial magazines, and celebrity influences, teenagers doing kick-flips on the sidewalk can redefine streetwear and shape the global fashion industry. Arising in the 1950s as a derivation of surfing, skateboarding gained national traction and became the definitive youth culture in the 70s that we still see today. Kids skated in a variety of areas, from public streets to empty swimming pools, as well as community skateparks and ramps. With the diversity of accessible spaces in conjunction with the lack of regulations and guidelines, skateboarding is not a traditional sport (Bronner, 2016). More so, skating represents a lifestyle that emphasizes the critical element of self-identification, since skaters consider themselves ostracized from mainstream culture. They are often stigmatized as rebellious youths, associated with drugs, trespassing, and labeled as outcasts. American photographer and filmmaker Larry Clark was fascinated by the youth culture of skateboarding, as “they were the most interesting teenagers because people were scared of them and they had all this freedom [...] the whole city was a concrete playground. The cops hated them [...] but they were just kids having fun” (Clark, 2013). Skaters found solace in their own subculture which cultivated a unique identity, evident through their attitudes, fashion, and individuality.
In particular, Clark was captivated by the graphic design of skateboard decks and T-shirts that teenagers used and wore. From the mid 1980s through the 1990s, Clark collected the decks and tees that the kids designed and wore. Boo-Hooray published an exhibition of Clark’s collection in the photography book titled Larry Clark Stuff, featuring boards from Clark’s projects, including Tulsa, Teenage Lust, and KIDS, and graphic designs from streetwear companies such as Fuct and Supreme (Clark, 2013). Cornell University’s Division of Rare Manuscript Collections houses this book along with a physical collection of T-shirts. One particular soft cotton T-shirt displays a screen-printed graphic of the “Alien Workshop” brand label (Figure 1). The soft eggshell color of the shirt is a knit fabric structure since there is a substantial stretch to the material. This structure allows for a large range of movement in the upper body, which supports the physical function of the wearer when skating. Further, the graphic is made up of each color of the rainbow to create a stimulating visual behind the green alien. The graphic is vertically symmetrical which produces a balanced design, creating a sense of stability. Incorporating symmetrical balance in the background allows for the emphasis of the green alien in the foreground. The design on the T-shirt is also incorporated on one of the skateboard decks, demonstrating the replicability of art through different forms (Figure 2). The collection demonstrates that skating was more than a sport or activity, but was a comprehensive culture with a major influence on art and fashion. Clark cites that “there was a freedom in the design, and a freedom in making these T-shirts” (Clark, 2013). Skaters became artists, designing their own original decks that became one of a kind pieces, just as the T-shirts were so interesting because they were only sold in limited quantities.
Harnessing inspiration from these teenagers, Larry Clark’s 1995 film Kids captured the story of New York City skateboard culture, renowned for its controversial and graphic depictions of teenage sex and drug usage. Kids embodied the appealingly cool aesthetic of 1990s NYC and brought the world of skating to a wider audience, stimulating the transformation of skate culture from a niche movement to a popular trend. In doing so, the costumes of the film developed a streetwear style, formally consisting of teenagers wearing then-alternative brands such as Palace and Supreme, to high fashion taking inspiration from the street. Once skating as a streetwear style gained traction in the fashion world, companies began to integrate the aesthetics from skate culture into their brand identity. Branding is the main catalyst of skatewear in fashion, with one of the most recognizable names today being Supreme. A popular design element that Supreme utilizes is the bright red box logo, becoming a brand signature similar to Alien Workshop’s graphics. Supreme’s first retail store was established in 1994 in New York City, created to cater to the skate kids in the city. The store’s employees consisted of young, local skaters, which fostered an authentic brand and a loyal following. Supreme started by drawing on the skate culture that surrounded it and has now developed into a successful company, utilizing limited edition collections with companies and artists, including Larry Clark, while remaining true to its identity (Doyle, 2017). However, skate culture has infiltrated the high-fashion market, as brands with no connection to the sport, such as Gucci and Louis Vuitton, capitalize on trending skate aesthetics.
Skating interestingly exists at the intersection of mainstream and underground. The activity itself is attainable for anyone with a skateboard, regardless of one’s economic status, race, or geographical confines since they can engage in any public area. Conversely, the subculture could be considered exclusive in alignment with anti-establishment and physical aesthetics. This duality of accessibility is the perfect formula for a profitable company, in which a streetwear brand can have a high demand for exclusive lines. Larry Clark laments the future of skate fashion, stating “skating was co-opted by companies, by commercialism. But back then, it was only about skating. It wasn’t about what you wore [...] the clothing is all a commercialized jive now, nothing like it was” (Clark, 2013). In today’s society, skate culture has experienced a more widespread acceptance due to its integration in popular fashion, which is a stark contrast to the societal rejection that it faced when it was associated with punk and rebellion. As subcultures continue to influence contemporary fashion, understanding its origins and how it has evolved over time will assist in creating accurate and authentic representations of that unique style.
Figure 1
Figure 2
References:
Bronner, J. and Clark, C. (2016, March) Youth Cultures in America. Santa Barbara, California: Greenwood, an imprint of ABC-CLIO, LLC 2016. Web.
Clark, L. (2013, September). Larry Clark Stuff. Japanese edition. New York: Boo-Hooray. Print.
Doyle, I. (2017, January). “How Skateboarding Carved a Place in Mainstream Style.” Culture Trip, The Culture Trip. Retrieved from https://theculturetrip.com/north-america/usa/articles/how-skateboarding-carved-a-place-in-mainstream-style/