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Brand review on Supreme, labels it as 'perhaps the most successful skate brand in history'. This article talks about something that is quite intriguing about Supreme as a brand, they never re-release anything and there is always a very small, limited supply of stock, hence making it hard to come by and builds up value for resellers.

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A skate shop, perhaps the most successful skate shop in the history of the world, owned by a man who doesn't skate and doesn't care much for the sport. A brand that doesn't classify anything as limited , but only releases short runs and never re-releases product. A fashion icon that swears it's not a fashion brand. Supreme is an intriguing, tangled web of contradictions.

Maybe that's why the brand was able to rise to such cultural significance: in a certain light, it's hard to tell the difference between "hot mess" and authenticity. If you color outside the lines long enough, you lose the ability to tell where truth ends and myth-making begins. And maybe that's all anyone really wants out of a brand; maybe we want something that appears messy enough that, just for a moment, we suspend disbelief and think maybe this is all one big accident and not the result of years of calculated brand building.

Before the Hype

Supreme opened in 1994 with a staff of edgy, anti-commercial kids with attitude. They were confident, fearless, opinionated, and unapologetically authentic - traits that carried into the overall energy in and around the store. It was intimidating, yet intriguing - and ultimately the workings of Supreme's cult-like appeal.

They threw together a to meet a t-shirt print run deadline, and an inventory that was best described as "sporadic." The store cultivated a minimalist aesthetic, which was good because in the early days before digital inventory management and AI-powered sales projections, and before Supreme was valued at $1 billion USD , keeping the store stocked with board decks and t-shirts was a challenge. The store would either run into cash crunches and be hard-pressed to fill shelves or would order small quantities out of fear of being stuck with poorly selling merchandise.

The store was a hit almost immediately. Jebbia, taking advantage of connections made at Parachute, Union, and Stussy, brought in a ragtag gang of socialites, artists, musicians, and even the occasional real skateboarder, who would come to the store to hang out as much as to shop. It became a sort of modern-day Parisian cafe, a place where one could come to have a conversation about Puff Daddy and Patssi Valdez, all while enjoying a discreet beer or malt liquor.

What Drives Streetwear?

Income Inequality

Identity

The challenge of identity and what it means has been bubbling over for as long as people have asked "who am I?", but it has come to a head in recent years as millennials and members of Gen Z seek to redefine themselves in terms of their style rather than their demographics.

Growth in Asia and Other Developing Markets

Streetwear has seen tremendous success in these areas for the same reason it has seen strong growth in Western Europe and North America - it offers the exclusivity and "street cred" of legacy luxury brands, but often at a fraction of the price. For a growing middle class anxious to show off their new status, streetwear represents a near-perfect intersection of price point and prestige.

Reigning Supreme

Take the "drop" - an often spontaneous (though occasionally scheduled) release of new products, with the actual contents of the release a closely guarded secret. These drops have come to define streetwear and sneakerhead culture, with brands from Nike to Gucci holding events at which they parcel out carefully controlled quantities of new releases to lines of adoring fans. Supreme pioneered the approach, initially writing it off as the struggle of a small business to stock inventory, but eventually making these limited release events a core part of their business model.

Amazingly, Supreme has managed to create a unique and cohesive voice by borrowing heavily from others and then reimagining the zeitgeist. Even their iconic logo , the bright red box (#FF001B) with the bold white text (Futura), is a design that either borrows or steals , depending on who you ask, from contemporary feminist artist Barbara Kruger. Many of their products feature the works of others, remixed and mashed up, to form a sort of circular in-joke at the expense of culture. Supreme is rarely the first to a product category, and they're rarely the best at it, but the end result is always unique and stands apart from the thing it imitates - even if it's the exact same product.

Supreme has managed to build a juggernaut by looking at the retail playbook and then proceeding to do everything differently. Their retail staff was unwelcoming. Their products priced higher than similar competitors. Their inventory model was built on not having things in stock. They don't advertise or play nice with the press. And yet, they've managed to not simply survive but thrive. Here are the lessons of Supreme:

Know who you are and who you're not, and never stray from the former. Authenticity is becoming a bigger buzzword in the modern brand playbook and is what many of today's consumers are looking for. Instead of trying to anticipate the direction of the market, or even worse chasing trends, make the products that you want to make, and do so unapologetically.

Know who your customer is. Supreme found success by understanding that the skate park kids and scruffy youth that wandered into their store were willing to spend a little extra for quality, and were willing to spend a lot extra for luxury. They didn't write them off, as so many competing skate shops and brands did, as "just kids" with no money, while still being cognizant of the financial scarcity that their target market operated under. As a result, they were able to shatter the conceptions of what a skate shop could be and sell.

Your customers are the most valuable marketing asset. No amount of branding or design or ad spend can replicate the power of turning a buyer into an ambassador. Getting your customers excited about what you're doing, whether that be through gimmicks like artificial scarcity and drops, or through creating products that are genuinely supreme (yes, pun intended) to the competition, is the only way to grow a brand sustainably.

Don't limit yourself to a category in what you sell or who you partner with. Push boundaries, test waters, and look for inspiration in places you wouldn't expect to find it. It's important to remain grounded, but it's just as important to reach outside your comfort zone. Maybe don't start by literally selling a brick for your first go-around, but don't be afraid to poke and prod and provoke.

Being first to market can be important, but it isn't the be-all and end-all. A unique take, or a different perspective, can turn something common into something that is unequivocally yours. It's next to impossible to build a modern, relevant brand without mastering the art of making copies that are better than the original.

Marketing is not just marketing. Supreme has barely spent anything on traditional marketing and advertising over their 25-year history, but nevertheless manages to pull off some of the most inspired marketing campaigns in the industry. Look for opportunities to make noise wherever you can - partnerships, gag products that go viral, staged sales events, or simply by making your locations stand out from what competitors are doing.

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Unrolling: The Supreme Brand | The AdRoll Blog

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Last updated: A skate shop, perhaps the most successful skate shop in the history of the world, owned by a man who doesn't skate and doesn't care much for the sport. A brand that doesn't classify anything as limited , but only releases short runs and never re-releases product.

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A brief history on Supreme and how it grew into a multi million dollar business, there are now 12 supreme stores around the world and people travel far and wide to access certain 'drops' throughout the year. Queues to access the stores can sometimes take hours as 'streetwear obsessed' try to grab anything with a small supreme logo on.

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How Supreme went from a small NYC skateboard shop to a $1 billion global phenomenon

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The first Supreme store opened in New York City in 1994, but 25 years later the small and edgy skateboard shop has grown into a global brand with a cult following and a billion-dollar valuation.

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BoF article on the founder of Supreme, it was founded in 1994, the first store that opened was situated in Manhattan. Now, it is sometimes dubbed as the 'Chanel of streetwear'. It was originally created with skaters in mind, they could basically skate into the store with ease, the first designs were pretty bare and open plan. This theme is something that has stuck with Supreme and we can still see this in the stores today.

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Founded in a small store located in downtown New York in 1994, James Jebbia's independent label Supreme has become one of the foremost underground streetwear brands, boasting a cult following eager for it's coveted range of T-shirts, footwear and branded miscellanea. Produced in limited editions, Jebbia regularly collaborates with mainstream brands such as Comme des Garçons, Levi's, Vans and Louis Vuitton . Past projects have included collaborations with high-profile artists such as Damien Hirst, Takashi Murakami and Richard Prince, as well as bands such as The Clash and The Misfits. These partnerships have helped propel the brand's iconic status amongst youth counter-culture.

Operating a highly exclusive retail strategy, Jebbia only operates 12 Supreme stores, with the first European location launched in London's Soho. A British native, Jebbia first moved to New York in the early 1980s where he found work in SoHo-based clothing store Parachute. His first retail venture was Union NYC, which opened in 1989 and carried an experimental mix of mostly English brands. Following this, he partnered with pioneering streetwear retailer Shawn Stüssy from 1991 to 1994.

Alongside clothing and skating accessories, Jebbia has also released Supreme calendars, shot by renowned photographers including Larry Clark, and in 2000 partnered with Brooklyn Machine Works to launch a range of 24-inch cruiser bikes retailing at $1,800 a piece. The label's first book, documenting its history, was released by publishers Rizzoli in 2010.

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Founded in a small store located in downtown New York in 1994, James Jebbia's independent label Supreme has become one of the foremost underground streetwear brands, boasting a cult following eager for it's coveted range of T-shirts, footwear and branded miscellanea.

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Business insider article on why Supreme is worth so much and why it is so expensive in the first place. This is usually excused by the limited quantity and good quality of the clothing. Although the clothing is not £££££ for the most part, collabs with other designers see prices soar. The label is what makes Supreme so special and expensive, in this article you can see a regular $300 North face jacket, and beside it you can see practically the same garment with a supreme logo on that is worth $1000 more. The label itself makes the buyer feel like they're part of something special.

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Shopper 1: Supreme, baby!

Shopper 2: I just bought a faux-fur jacket for $1,000, so.

Shopper 3: People want to know, "Hey, look, that guy's wearing Supreme." But people also make a living off it too, so.

Narrator: These two jackets are nearly identical, both made by The North Face, and both using Gore-Tex technology. This one on the left costs $300. The one on the right is currently selling for nearly $1,300. So what's the difference?

This one just happens to be a North Face collaboration with Supreme. So why would someone pay nearly a thousand dollars more for basically the same jacket? And what is it that makes Supreme so expensive?

From the eye-catching logo to the limited product releases and artist collaborations, over the past 20 years, Supreme has transitioned from a small skateboarding store in New York to a $1 billion streetwear company. But for its fans, Supreme is more than just a brand. It's often an obsession and an entire subculture of its own.

Since its origin, Supreme has maintained an image of being authentic. Founded by James Jebbia in 1994, Supreme started as a skateboarding store in the SoHo neighborhood of Manhattan. The store started out selling hoodies and sweatshirts aimed towards the burgeoning New York skate scene.

Throughout the '90s and early 2000s, Supreme functioned as a skate brand catering to both skaters and those interested in the emerging streetwear style. But Supreme's limited releases and attitude has pushed them far beyond their beginnings.

The most iconic Supreme design is their box logo, originally, simple white, italic lettering over a plain red background. This design so closely echoes the work of conceptual artist Barbara Kruger that it is hard not to see it as a direct copy, and copyright theft is something that's in Supreme's DNA.

Supreme's appropriation of images is one of the keys to its popularity. Pop-cultural imagery and logos are copied and adapted in a way that makes the designs feel more like contemporary art or graffiti than a big fashion brand. Supreme's first branded T-shirt was simply a photo of Robert De Niro in the film "Taxi Driver" along with the iconic red-and-white logo. And the company's use of often unlicensed imagery has led to Supreme being served cease-and-desist letters from Louis Vuitton, the NHL, and the NCAA.

Dimitrios Tsivrikos: The more we've been exposed to a brand, the more likely we are gonna be developing an association, a familiarity, almost a sense of connection with it. With Supreme, there's no element of status, and they went completely for what a logo should be all about: standing out, being identifiable.

Narrator: The recognizability is key to Supreme's power as a brand. But the items are also purposefully difficult to get ahold of, and their products are kept in high demand by very limited releases.

Chris Magnaye: Tuesday at 11:00 a.m., you go to the Supreme website, you enter your basic information: your name, email, phone number, and credit-card number. Then, they'll send you a text later in the day to let you know if you've been selected to stand in line. Then on Wednesday, they'll send you a text telling you the time and store to report to. And on Thursday, you go to the store at the time that you're given.

There's a one-limit-per-style rule in Supreme, so what that means is, if a shirt comes out in black, red, and gray, you can only get it in gray. So if I want it in black and red, I need to get two other people to get it for me, so they need to stand in line for me. A lot of the people who do stand in line are standing in line for someone else.

Narrator: Supreme only sells their merchandise at 11 brick-and-mortar stores across the world as well as their online store. It was around the mid to late 2000s that Supreme really started to pick up speed. This success was partly due to what's been dubbed the "Kanye effect."

In 2006, Supreme released their Supreme Blazer SB, a collaboration with Nike. The shoes retailed for around $150, with resale prices ranging from $300 to $400. In July 2007, West was pictured wearing the shoes at the Grammy Foundation's Starry Night party. After the photos were released, the resale price of the shoes doubled to $800.

Similarly, the teal box-logo sweatshirt worn by Tyler, the Creator in his "She" music video, originally priced at around $150, sold for $3,500. But not everything from Supreme is gonna end up being valuable. Sellers like Chris have to decide what's going to be popular and what items will give them the best return.

Chris: So how I decide on what I think is gonna resell is based mainly on what I would wear. You can also go to these Instagram accounts, and they'll have Instagram polls, Twitter polls, talking about, oh, like you can up-vote this, you can down-vote this, and it's this crowdsourcing tool to understand the market better and find out, oh, this one's gonna resell, or this one is really popular. The most money that I've made off of one Supreme item is the 2017 fall/winter collaboration with The North Face, and it was a mountain parka. I bought it for $398, and I sold it for $950.

Narrator: This incredibly limited release means that buying and reselling Supreme items is where the real money is. When you look at the prices of Supreme items in-store, they aren't as outlandish as you may expect. They retail for around $38 for a T-shirt to $138 for a sweatshirt. But it's once these products have sold out that they can reach 30 times their original price.

Many other big brands are now adopting this method of very limited releases to generate hype around their products, from trainers to other streetwear brands. These releases make people feel like they're part of something exclusive.

Dimitrios: The more we make a consumer work for their particular access to a product, the more alluring these services and products are becoming. So I think Supreme know very well how to make something incredibly accessible and sexy by allowing us to jump through as many hoops as possible to make it relevant for them.

Narrator: But there's something about Supreme that's different. Could any other company get away with selling a brick or a branded crowbar? What is it that gives Supreme such a devoted following?

Shopper 1: I think it's the hype. They come out with really cool items. I personally feel like they do. It's a name brand, and name brands attract anybody at the end of the day.

Shopper 3: In New York especially, it's a lot of streetwear. So people want to have those exclusive items. So I feel like Supreme, they keep their quantities very low because of the high demand. People will pay that price if it's something they like.

Shopper 2: Supreme, I think the thing that really causes people to spend money and wait in line is kind of the "it factor" that it has, right? They've done an amazing job of limiting quantities and under-producing to the demand. So in that way, their market of people that would want to buy the product isn't just people that are interested in the product, but it's also people that are interested in making money, and that demographic is way bigger than people that are just interested in streetwear. So when there's an opportunity to make money, then there's gonna be a huge line of people around the block regardless if they want to wear the product or not.

Narrator: Supreme has managed to somehow keep their cool, alternative, and exclusive image despite their expansion and has still maintained its skater credentials despite selling a 50% stake in the brand to a private equity firm. With more and more people wanting their products, for now, it looks like Supreme isn't going anywhere.

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How Supreme went from a small skateboarding store in New York to an $1 billion streetwear company with a cult-like following among teens

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Shopper 1: Supreme, baby! Shopper 2: I just bought a faux-fur jacket for $1,000, so. Shopper 3: People want to know, "Hey, look, that guy's wearing Supreme." But people also make a living off it too, so. Narrator: These two jackets are nearly identical, both made by The North Face, and both using Gore-Tex technology.

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Looking more closely into how Supreme attract customers using their social media and website is extremely interesting. It is not hard to see how minimal the branding of Supreme is, the website is not difficult to navigate, and one of the quotes used "It's the customers who chase the brand and not the other way round" shows the exclusivity - Supreme is almost a club.

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Supreme do collabs with high end brands extremely often to stay relevant and increase the brands hype. In 2017 Supreme did a collab with Louis Vuitton, this is dubbed as their greatest brand collaboration, considering Supreme started as a small skate brand. By doing collaborations, this creates brand awareness and hype for both parties, Supreme do this with a range of brands, both big and small. And it is not just clothing, there have been collaborations with companies such as Brooklyn Machine Works which produced a bicycle. Even for products with no use to customers, they become collectables simply because of the addition of a Supreme logo.

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Stussy started in the early 80s by Shawn Stussy, was originally a surf brand and the original logo was printed onto surfboards, since then it has evolved massively into a streetwear / skate brand that appeals as it has more character as opposed to other rival brands such as Supreme.

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BRAND FOCUS

From humble beginnings on the West Coast of California, Stussy has built itself a legacy
like no other. We take a look at the history of this influential and iconic label.

Stussy celebrated it's 35th anniversary back in 2015. In todays culture, that is some achievement. The brands roots are well documented; its founder Shawn Stussy began creating custom, hand made surfboards out of his garage in the early 80s, blending innovative shapes with forward thinking graphics touching on everything from roots reggae to new wave and post punk. His skill was in demand, and several pro surfers were loyal to him. Everything was signed off with the now iconic hand drawn logo; a nod to OG graffiti handstyles and the signature of his uncle, abstract artist Jan Frederick Stussy.

Stussy was an expert at taking disparate reference points and bringing them together through one unique lens. Stussys first forays into clothing offered the complete anti-thesis to the loud and brash traditional surf wear available at the time. As Robbie Jeffers, Stussy Team Manager, states in an interview with Complex, 'I hated surf culture and the way surfers were. I just can't stand bros. I don't think Shawn liked it either, that's kinda why he did what he did'. As the 80s drew to a close, discerning consumers were looking for gear that could easily transition from the street or beach in the day to the club or the bars at night. Stussy were there at the perfect time to ride this collective change in consciousness.

LATEST STUSSY FOR MEN

LATEST STUSSY FOR WOMEN

The list of firsts that can be accredited to Stussy reads like a 'how to' for emerging brands in todays online culture. Referencing high fashion houses, flipping logos, reworking pop culture graphics, straddling the fine line between high and low, sending clothing to tastemakers across the world, offering an all encompassing lifestyle element, a carefully curated list of stockists...the list could go on and on. Stussy were amongst the first to put logos on baseball caps, and they attributed to 20% of the business in the late 80s. Although far less documented, Stussy even join Supreme on the list of brands sued by French fashion house Louis Vuitton. Things that seem second nature now were pioneered by the California brand.

The customary late 80s/early 90s New York hip-hop look of Carhartt jackets, baggy jeans and Timberland Boots can be credited as one of the defining influences of Stussy, and in turn became a pillar in the birth of what has become known as streetwear. In the early years, Shawn Stussy would travel to cities across the world including London, Paris and New York, to meet and network with the creative people and tastemakers of those cities. This would come to be known as the International Stussy Tribe, and included high profile individuals including Hiroshi Fujiwara, Michael Kopelman and James Lebon.

It was New York that really set Stussy on a new trajectory. James Jebbia opened Union in 1989 on Spring Street in New York. The shop was one of the first of its kind. It stepped away from the baggy hip-hop look of the time, but still embraced the street attitude, played hip-hop music and offered a curated selection of younger, boundary-pushing labels. Stocking Stussy at the time wasn't easy, and Jebbia's desire to sell it at Union wasn't enough to convince Stussy to agree until Paul Mittleman gave the co-sign and brought Shawn to the store to see it for himself. He agreed, and Jebbia would go on to open the first Stussy store in New York in 1991, and started Supreme a few blocks over whilst still working there. In '92, both Stussy and Union expanded over to the West Coast and were housed together in a store on La Brea avenue called 'The Stussy Union'. One half of the store was filled with Stussy and the other half filled with Union's tight brand selection. It was a unique concept at the time, and before long both had outgrown the space and opened up in separate stores next door to each other, where they remain today.

The Tribe was another important factor in the spread of Stussy on the international stage. Shawn would send clothing out to individual creatives and tastemakers in various cities across the world. Stussy had been making varsity jackets for a few years before Shawn had the idea to make special, one off 'International Stussy Tribe' versions, customised with each individuals name. In todays culture, this might be viewed through cynical, marketing eyes but it was all organic. There was a genuine connection between people with similar interests and style cues, people were proud to wear these jackets and these people became the 'unofficial, official' spokesmen for the brand. As Paul Mittleman attests, 'a lot of the people that formed the tribe went on to carve the niche for what would become streetwear and street culture'. However organic it was, it was still a stroke of genius from a brand building point of view. Frank Sinatra Jr, Stussy co-founder explains 'we wanted people who cared enough about what they wore to go out and discover us, and feel like they had found something unique, not available everywhere, that said something about who they were and how much they cared for what they wore. We weren't advertising from the top down, we were about being discovered from the bottom up'.

As the 90s rolled on, more and more labels were springing up that were willing to cash in on whatever was hot, whilst Stussy stood firm in not allowing the market to dictate its product. People began to get confused with Mossimo, a label with a strikingly similar hand drawn logo and a distribution strategy at the opposite end of the spectrum to Stussys; selling its products to any store that would take them. The American market was becoming diluted; unwilling to bow to external pressures and becoming disenchanted with a lack of enthusiasm from his team for his desire to push the brand forward, Shawn left at the end of 1995.

Frank Sinatra Jr persevered, and kept the brand legitimate with the help of other members of the tribe and the people around them in the New York scene. The rise of the Ura-Harajuku movement in Tokyo, spearheaded by a key member of the tribe, Hiroshi Fujiwara, gave Stussy a whole new lease of life in Japan. They appreciated the authenticity and the heritage. After the turn of the millennium, the rise of sneaker culture and the increasing frequency of brand collaborations also gave Stussy new outlets and customers. Collaborations with Nike, including the first Huarache LE in 2000 and 2002's Blazer Mid pack are among some of the most highly sought after shoes still to this day.

In todays market, the prerogative is to remain 'brand first, revenue second', according to Fraser Avey, Stussy's brand director. New faces have been handed the reins, including Ryan Willms, former editor-in-chief of Inventory Magazine, who has helped facilitate projects with Central St Martins graduate Kiko Kostadinov amongst a host of other collaborations, and kept the Stussy brand on the backs of the next generation of creative young people.

Stussy's legacy is monumental. The fact that the original hand drawn logo alone has stood the test of time and still looks as current as it ever did puts it in a league reserved for very few of the worlds most influential and instantly recognisable brands. Stussy were there at the very beginning, and have laid the foundations for an entire industry that wasn't in existence a mere twenty years ago. With all the visual inspirations of the past, and a forward thinking creative outlook utilising the worlds most exciting young creatives, the brand is an institution that will always be held in the highest esteem. On top of all of that, it's still independent.

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Brand Focus - The Stussy History | Goodhood

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BRAND FOCUS THE STUSSY HISTORY From humble beginnings on the West Coast of California, Stussy has built itself a legacy like no other. We take a look at the history of this influential and iconic label. Stussy celebrated it's 35th anniversary back in 2015. In todays culture, that is some achievement.

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Article from Business of Fashion talking about the rise of Stussy, the first flagship was created by both Shawn Stussy and owner of Supreme, James Jebbia. This shows the link between both brands and shows the evolution of Stussy as a former surf brand.

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NEW YORK, United States - In 1980, California-bred Shawn Stüssy began creating surfboards that combined innovative performance shapes with a graphic style combining elements from reggae, punk and new wave music, leaving his literal mark on each board with a broad-tipped black marker. His signature paid homage both to graffiti handstyles and his uncle, abstract painter Jan Frederick Stüssy.

In 1984, Shawn Stüssy went into partnership with accountant Frank Sinatra Jr. (no relation to the singer) on an apparel line using Stüssy's name. The label was the first to make caps marked with signifiers for fashion brands, not sports teams. The idea came from kids who donned white painter's caps - Stüssy reinterpreted them with his own graphics and colour schemes. Among two of Stüssy's most enduring designs are a pair of linked S's, a play on the famous interlocking C's of the logo, and a graphic that says "Stüssy No. 4," riffing on Chanel's signature perfume. By 1990, the business was generating $17 million in annual turnover. By 2014, Stüssy, still independently owned and operated by the Sinatra family, had grown into a global streetwear brand with annual revenues of $50 million.

How did they do it?

"They may have come from a skate and surf background, but they didn't stay there," says Chris Gibbs, owner of streetwear-led menswear store Union Los Angeles.

In the brand's infancy, Shawn Stüssy travelled to cities like London, Paris and Tokyo, where he found people who shared the same tastes in music, fashion, and culture. In 1991, Shawn Stüssy and James Jebbia, then-owner of Union and future founder of streetwear label Supreme, opened Stüssy's first flagship store in New York. A 900-square-foot space located at 104 Prince Street, it was part of the first crop of retailers that planted their flags in the still-gritty, up-and-coming Soho neighbourhood.

Stüssy's globe-trotting, like-minded group of DJs, club kids, skaters, and multidisciplinary creatives included guys like Hiroshi Fujiwara, Michael Kopelman, and Luca Benini - all of whom have helped disseminate the aesthetic and culture of what's now called "streetwear." The so-called "International Stüssy Tribe" spread its message not just by wearing all manner of custom varsity jackets, graphic tees and baseball caps (Kopelman credits Stüssy as "the first company to send boxes of gear to fans"), but also through an all-encompassing lifestyle that transcended genre.

The Stüssy style did to clothing what hip-hop did to music: creating something new and fresh by sampling the familiar. Stüssy apparel was as rife with lyrics by Bob Marley and Eric B. & Rakim as it was with design nods to Comme des Garçons. Stüssy himself was often inspired by magazines like i-D and the store reinforced the unique visual language of the clothes with forward-thinking campaigns and editorials by photographers like Ron Leighton, Juergen Teller, and Mario Sorrenti.

"It became this mash-up of what was going on at the time, which was hip-hop and surfwear," adds E.P. Cutler, a consultant for WeConnectFashion and author of an extensive report on the 2015 streetwear market. "Stüssy was the first to marry the two in a way that was really interesting."

As the company approached the mid-nineties, however, it began to falter. Stüssy's hand-styled logo was being confused with the similarly scrawled signature of American youth-oriented clothing label Mossimo, which was less selective about its list of stockists than Stüssy. The brand was also losing business to a new trend - urban-themed lines skewed towards a more aggressive hip-hop aesthetic.

"In the early '90s, 'urban' was where it was at: Triple Five Soul, FUBU, Mecca, Akademiks - those guys were driving the market," remembers Gibbs.

The label's decline was punctuated by Shawn Stüssy resigning as the company's president in January 1996, citing the desire to spend more time with his wife and son in Hawaii, saying it was "not a hostile thing." His departure precipitated the company's worst performing year ever.

"That was the lowest point in Stüssy's history," recalls David Sinatra, Stüssy's 28-year-old chief executive and Frank Sinatra Jr.'s son. The company's revenue had been reported at $35 million the previous year and in 1996 it sank to $21 million. Despite the dip, the business remained in the black. "My dad would want me to remind you that we've been profitable every year of our 35 years," jokes Sinatra.

Frank Sinatra Jr. took the reins of Stüssy and a new creative team was put in place. Nick Bower, a Central Saint Martins graduate whose first job was at , became head designer. Paul Mittleman was appointed creative director in 1997. The second iteration of Stüssy lacked Shawn Stüssy, but besides his last name, the company also had a rich visual well of over fifteen years of archives to draw from.

With sales declining in the United States, Sinatra Jr. focused on building Stüssy's global business, where it was received especially well in Japan. At the time, the Harajuku streetwear scene was booming: brands like Hiroshi Fujiwara's Goodenough, Nigo's A Bathing Ape, and Shinsuke Takizawa's Neighborhood flourished.

In Europe, Luca Benini helped boost Stüssy's retail presence through his distribution company, Slam Jam. To this day, Stüssy does more business globally than it does in the US and David Sinatra estimates the split is about "60-40," with Japan remaining its largest customer base. Stüssy's international tribe has swelled into a worldwide movement.

"Even though they don't have the original designer, their most iconic signature would be the font - his handwriting, which they were able to retain," says Gibbs.

Stüssy also traded in the currency of the logo flip - the reinterpretation of famous trademarks and images with a knowing nod, channelling the attitude of placing graffiti or a sticker over a subway ad. In addition to Stüssy's Chanel homages, the younger Sinatra remembers one particular Stüssy pattern modelled after Louis Vuitton's monogrammed print: "I know Shawn did it, it was probably in the late '80s, we called it 'Stu-ey Vuitton,' and we got sued for it, actually."

"With all those logo flips, we have a long history of cease-and-desist letters," admits Sinatra, who sees Stüssy's torch being passed to current designers such as Virgil Abloh and Shayne Oliver.

"Shayne Oliver, he's a street guy. He's 100 percent one of the better fashion designers of our day, but he's also a guy who would throw a lot of parties and would DJ - and that's what we do."

Despite rumours in the early 2000s that Sinatra Jr. had plans to sell the company to Renzo Rosso, whose Group is the parent company of brands including Maison Margiela, Marni and Diesel, Stüssy remains an independent label. It operates more like a family business than a global corporation, but it also feels like a fashion house with the shadow of its original designer looming over it. David Sinatra has taken on a more active role in the day-to-day operations in California, along with Vancouver-based Fraser Avey, Stüssy's 29-year-old global brand director.

"The business has grown in a crazy way the past couple of years," says Sinatra. "We reluctantly did over $50 million last year." Reluctant because, according to Sinatra, the company is currently trying to cut back and stay small. "It was probably one of our biggest years ever - and it was an accident."

Sinatra characterises Stüssy's third act as having a "brand-first, revenue second" philosophy, in order to avoid becoming "this big monstrosity that doesn't stand for anything."

As a market, Cutler describes streetwear as an industry that business-minded types "are trying to get their hands on, but they don't really know." Her report valued the streetwear industry at around $75 billion in 2014 - half the size of the $150 billion market for sportswear apparel.

Unlike Volcom (acquired by Kering in 2011 for $608 million) and A Bathing Ape (acquired by Hong Kong conglomerate I.T in 2011 for about $2.8 million), by choosing not to sell, Stüssy has worn its authentic streetwear provenance on its sleeve.

"We look at Nike, Patagonia and some of these other brands that have this wider reach but still have a really strong connection to what makes them special," says Sinatra.

The last four years have seen fresh faces appear in Stüssy's creative team. Paul Mittleman left his post as Stüssy's creative director in 2011 to become Adidas' global senior design director. Nick Bower resigned in 2014 as Stüssy's head of design. Nin Truong, founder of the streetwear label Maiden Noir and accessories line Blk Pine Workshop, has since assumed Bower's duties as design director.

Fraser Avey brought on Ryan Willms, editor-in-chief of Inventory magazine, less than a year ago to help spearhead the label's marketing and communications. Avey credits Willms with running point on Stüssy's latest project, an installation on the fourth floor of Dover Street Market, New York, consisting of a collaborative capsule collection, vintage Stüssy items from the '80s and '90s, and special one-of-a-kind pieces made from deadstock Stüssy garments by Central Saint Martins design student and SHOWstudio collaborator Kiko Kostadinov.

"Dover Street is something that is probably at the pinnacle of inspiring retail for us," says Avey. "We had the concept to kind of show up and do a bit of a retrospective on the brand."

This year alone, Stüssy has released collaborations with Union Los Angeles, Japanese labels Mastermind and Sophnet, London design studio La Boca and Santa Monica skateboard shop Rip City Skates. Sinatra says these collaborations and projects are a branding play. "There's no real economic motivation in working with Union [Los Angeles] or DSM [Dover Street Market]. We probably lose money on those projects, but those are the projects we get excited about, and those are the projects our friends get excited about."

What Stüssy is making money on, however, are a slew of wholesale accounts that vary from boutiques with fashion cred like Trés Bien and Colette to larger chains like ASOS and Urban Outfitters, one of its biggest accounts in the US. That said, Stüssy keeps a close eye on the types of product that go to each stockist, to keep its multi-tiered business consistent with the brand's particular point of view.

"Whatever we do with Urban [Outfitters], we're very careful that it's not because Urban Outfitters wants to make more money; it's because it's something we feel is genuine to Stüssy," asserts Sinatra.

"As a team, we're doing what feels right, when it feels right," agrees Avey.

Another reason Stüssy remains relevant is that streetwear and the culture associated with it is inherently young. In the age of the Internet and social media, it's never been easier for teens to find alternative brands that speak to them outside of mainstream mall labels like Hollister, Abercrombie & Fitch and Aeropostale - all of which are in dire financial straits.

"What a young kid in Taiwan is wearing isn't so far off from what a young kid in New York is wearing anymore," notes Sinatra, who says that the increased sophistication and brand understanding amongst younger consumers is one of the reasons Stüssy is thriving, while "brands with less of a value proposition" struggle.

"You got kids who know all about Raf [Simons], who know all about Stüssy's history, and they don't even have a driver's license," he adds.

Cutler thinks Stüssy's staying power also has to do with its entrenched branding. For older consumers, it hits a certain nostalgic note, but for kids, it just looks cool.

"The Stüssy logo is still powerful and still relevant 35 years on. That says something," she says. "It's a resuscitated brand that never lost touch with its heartbeat."

"This is the environment we're supposed to be in," adds Sinatra. "This is the age of the small culture brand doing well."

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How Stüssy Became a $50 Million Global Streetwear Brand Without Selling Out

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NEW YORK, United States - In 1980, California-bred Shawn Stüssy began creating surfboards that combined innovative performance shapes with a graphic style combining elements from reggae, punk and new wave music, leaving his literal mark on each board with a broad-tipped black marker.

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Stussy timeline

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Stüssy: What You Need to Know About the Clothing Brand | Highsnobiety

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One of the most famous clothing brands, Stüssy is a Californian skate/surf brand with an origin story that involves a laidback, free-spirited identity.

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Vogue Business article on the rise of streetwear with women. A great aspect to Stussy is the fact that they also sell womenswear that isn't just unisex clothing, they sell items such as skirts and dresses in order to reach a wider audience which is something that alot of its competitors dont do. In 1993, Stussy was selling over 30% of its stock to women, therefore they decided to release a Stussy 'Sista' line.

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As the financial clout of the once-niche category grows, female creatives and consumers are gaining visibility and creating new economic opportunities.

Key takeaways:

While female consumers are increasingly seen as a sales opportunity in streetwear, the number of female-founded brands and creatives remains low.

Streetwear for women has been difficult to market, with many women buying from menswear and/or menswear retail spaces. Conversely, men are now desiring new female-created lines designed exclusively for women in their sizes.

Women are opening up conversations on inclusivity that could positively shape the streetwear world going forward.

When Sofia Prantera began working on the concept for Aries in 2010, women had little presence in the streetwear community. Born as a counterculture aesthetic cross-referencing music, sports, clubbing and community, its leading brands - Supreme, Stüssy and BAPE, as well as 21st-century successors like The Hundreds, Kith and Palace - were not only founded by men but prominently catered to them.

"Men have really been the ones who have been interested in it, running it and profiting from it," says Leah McSweeney, who founded New York-based label Married to the Mob in 2004. While McSweeney didn't launch with a "feminist" agenda in mind, the brand had a defiant attitude, starting from the infamous "Supreme Bitch" slogan that prompted Supreme to sue for $10 million in 2013. "I was always very much [about] why can't girls do what boys do and that was going to be the attitude behind the brand too," she says. Similarly, part of the reason Laura Marie Fama and Ashley Jones founded Dimepiece in 2007 was to bring female voices to the industry and the streetwear community in LA. During its peak from 2015 to 2016, the brand generated revenue of $2 million, according to the founders, and now does about $250 million a year in direct orders.

The female-founded brands that broke into the scene in the '00s - including Married to the Mob, Hlzblz, Mademe and Dimepiece - gave women an alternative to buying the smallest sizes of menswear items or shopping from a limited selection of styles that were presumably designed for girls but often felt like an afterthought.

"The first streetwear brands created by women, I wanted everything," says style consultant and streetstyle favourite Aleali May, who is the second woman to collaborate with Nike on a Jordan release. While most products were still out of reach because of pricing, May was taken by the fact that they were actually designed by people who knew what she wanted.

Twenty years ago few would have predicted streetwear's influence on fashion. According to Euromonitor International, in 2018 sports-inspired apparel and footwear generated combined sales of $133.5 billion, and are estimated to grow by 3.8 per cent and 5.4 per cent respectively by 2023. Investors have poured millions into companies like StockX, Grailed and Highsnobiety.

Meanwhile, the number of women's products is growing. The amount of new women's streetwear drops has increased by 38 per cent over the last 12 months, per Edited. "In the last year or so there has been so much movement, not least from brands like Nike, who are now realising what a power women can be," says Ida Peterson, womenswear and menswear buying director at Browns.

Still, the number of women blazing a trail in the market remains small. The Hypebeast 100, an annual list that recognises the most prominent names in street culture, included only 26 women in 2018. "It's not just sexism, it's also the way women are framed," says Prantera. "We are more behind the scenes, but I think it's changing. Younger girls are getting much stronger than we ever were."

Find customers where they are

Even at the height of their success, brands catering specifically to women missed out on wider recognition, visibility and financial gains. "I made so much less money than my male counterparts," says McSweeney, who briefly and reluctantly added men's T-shirts to her line at the suggestion of her investor. "My brand was better and I had better collaborations, but sales weren't there because there were just not as many women buying streetwear."

Prantera had the customers but found selling through womenswear channels a challenge. "The type of woman I was trying to communicate with was actually buying clothing in menswear shops," she says. Prantera maintained her design direction but switched to menswear trade shows and retailers, a decision that changed the perception of the brand "enormously", she says. "We didn't change anything, we just put it within a menswear environment and all of a sudden it was visible," she says. "The line took off in a way that it hadn't before."

Natalia Maczek, founder of Polish brand Misbhv, started with men's T-shirts because that was what she was wearing at the time and they were easier to design as someone without a fashion degree. Still, women were buying them. "From the very beginning our women customers were buying men's clothes," she says, adding that while 80 per cent of her stockists are men's stores, almost 60 per cent of her clients are women. After launching a womenswear line in 2016 and footwear in 2017, Maczek is shifting towards womenswear wholesalers as women's activewear now makes up 30 per cent of sales.

Men shopping in the women's section

Women interested in streetwear have always bought from the men's section. In 1993 Stüssy was selling nearly 30 per cent of its collection to women, so the brand decided to launch its first limited women's line called Stüssy Sista Gear. Other companies, including Nike, Adidas and Ewing, only recently began releasing some of their most sought-after footwear styles in women's sizes. Nike, for example, still produces only some of its Jordan trainers in extended sizing.

"With streetwear, you knew you wanted it but you couldn't get it because it was never in your size as a woman, it never got small enough," says May.

The tables might be turning. When Amsterdam-based womenswear designer Daniëlle Cathari releases her fourth Adidas drop on 15 July, the line will include unisex pieces for the first time. "There was quite a demand [from] men wanting to wear it too, but the first time it was a very feminine fit and concept," she says of the launch drop. This time the clothing, including a tailored lilac suit, a black blazer and a melange sweater tracksuit, is interchangeably modelled by both men and women.

"It's like the reverse role, where men want the women's exclusive," says May. Her Air Jordan 1, released in October 2017, was the first Air Jordan for both men and women designed by a woman. Retailing for $140 at launch, a US men's size 14 can now be bought on Stadium Goods for around $727.

Prantera officially launched a dedicated men's line only last year, but the brand's T-shirts, sweatshirts and even her denim have always been bought by men. "Aries can be seen as quite daring from a menswear [perspective] but I think people like that because a lot of it is actually designed to be worn by women," says Prantera. "By having that sort of gender-fluid approach to the line you can appeal to a more fashion customer."

"Streetwear has changed enormously as it's now fully integrated into the fashion system," says Luca Benini, founder of distribution and retail businesses Slam Jam, which has been operating since 1989. With Supreme now valued at $1 billion, after an investment from The Carlyle Group in 2017, streetwear is no longer a niche market, a development that has its critics. For McSweeney, streetwear has lost its countercultural status. "Wearing a streetwear label now is the same thing as wearing Calvin Klein back then," she says.

May, on the other hand, sees the popularity of streetwear and its open referencing in fashion as a long-due achievement. "Finally we are getting that praise that a lot of people before me deserved," she says. And while the lines between streetwear, mainstream fashion and sportswear continue to blur, some of its essential traits - like community, its DIY spirit and connection to music - continue to manifest.

Maczek launched Misbhv with an initial investment of €300, no business plan and no experience. Prantera used to conduct her tie-dyeing experiments on T-shirt blanks and basic jeans at home. Carolina Amoretti's Fantabody was born as a reiteration of what the Italian photographer and her friends used to wear in their clubbing years in Milan.

With women's influence on streetwear continuing to rise, it is sparking interesting conversations around inclusivity, body issues and politics. As May says, "Fashion should speak to the person and their experiences. We are adding more stories to it."
To receive the Vogue Business newsletter, sign up here. Comments, questions or feedback? Email us at feedback@voguebusiness.com. More from this author: The slow-burning rise of Martine Rose The direct-to-consumer opportunity for British fashion Luxury needs to look beyond China's first-tier cities

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As the financial clout of the once-niche category grows, female creatives and consumers are gaining visibility and creating new economic opportunities.

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Like Supreme and Palace, Stussy is well known for its collaborations with other brands. Although Supreme is more known for its quirky and high end collaborations, Stussy team up with brands such as Nike frequently every year to bring more price accessible items out. Although it is a limited supply, the Nike retail prices used make this collab more affordable for many and therefore extremely popular. The use of the Stussy branding and the Nike tech means a high quality shoe with a significant logo that, if you can get your hands on them, increase in price once bought. This makes the brand like Supreme and Palace, like a club.

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Stüssy is arguably the OG streetwear brand; Nike is the world's biggest sportswear brand. Together, they're an unstoppable force that has given us some of the most coveted sneaker releases of all time.

In 2020 alone, Stüssy x Nike has given us three high-profile sneaker collaborations, all of which have gone on to sell out almost immediately. The first Stüssy x Nike collaboration came 20 years ago and has gone on to set the tone for how streetwear labels and sportswear brands work together. Stüssy x Nike was quite literally the birth of the sneaker collaboration when Nike's Fraser Cooke and Stüssy's Michael Kopelman decided to team up at the turn of the millennium.

Fast forward 20 years of Stüssy x Nike, and with last weekend's release of the Stüssy x Nike Air Force 1 still fresh in our minds, we take a look at some of the most coveted Stüssy x Nike kicks released so far and their significance in sneaker culture.

Stüssy x Nike Air Huarache LE

Release Date: 2000 Buy: GOAT Editor's Notes: This first pair is technically not a Stüssy x Nike collaboration, but rather the aforementioned Michael Kopelman x Nike link up. Still, it was released exclusively at Stüssy's London Chapter store and therefore counts as the one before the first.

Stüssy x Nike Dunk High

Release Date: 2001 Buy: GOAT Editor's Notes: As the Nike Dunk was just beginning to blow up in the early '00s, Nike reached out to Stüssy to collaborate on two Dunk Highs, marking the first time Nike collaborated with a clothing company. Historic.

Stüssy x Nike Huarache Light

Stüssy x Nike SB Dunk Low "Cherry"

Stüssy x Nike World Tour Collection

Stüssy x Nike x Neighborhood "Boneyards" Blazer

Stüssy x Nike All Court Mid "XXX"

Stüssy x Nike Sky Force '88 Mid

Stüssy x Nike S&S Collection

Stüssy x Nike Air Max 95

Stüssy x Nike SB Blazer Mid and Low

Stüssy x Nike Zoom Spiridon Caged 2

Release Date: 2020 Buy: Stadium Goods, StockX, GOAT Editor's Notes: Earlier this year, Stüssy and Nike brought back the Steven Smith-designed Zoom Spiridon Caged 2 - a Zoom Air runner that fell under the radar when it was first released in the early '00s. Stüssy's decision to use hemp materials on one of the two colorways was a stroke of genius, as the shoe must have been the most-posted sneaker on Instagram for weeks.

Stüssy x Nike Air Force 1

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Stüssy x Nike: A History of Iconic Sneaker Collaborations

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Stüssy is arguably the OG streetwear brand; Nike is the world's biggest sportswear brand. Together, they're an unstoppable force that has given us some of the most coveted sneaker releases of all time. In 2020 alone, Stüssy x Nike has given us three high-profile sneaker collaborations, all of which have gone on to sell out almost immediately.

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This article by i-D shows the importance of a brand like Stussy in the evolution of streetwear. Stussy's unique designs set them apart from other more minimal competitors. It started from nothing and grew organically with a group of like-minded people creating clothing suitable for skating and just general living. The graffiti branding was seen as rebellious at the time, since if you were to graffiti something you were seen as a criminal, Shawn used this as a way for people to have more freedom in what they dressed and with their art.

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Stüssy's official launch date is anything but concrete. Don Letts, the musician, filmmaker and OG-affiliate of the brand says it all started in 1984, but Shawn Stüssy first remembers scratching his infamous punky scrawl in 1979. Without an official logo, per se, Shawn was making surfboards and branding them with a signature scribble -- a practice that, though he was unaware at the time, teemed with potential. He later applied it to T-shirts, earned cult acclaim, and a few years down the line, what is arguably the original streetwear brand was in business.

Underground culture was inherent to Shawn's work, as was a William Burroughs-esque aptitude for combining scenes, ideas and tastes in simple, effortless clothing. Hip-hop, reggae, graffiti, surfing, skating, punk: a span of influences and urban cultures were brought together to create graphic-heavy garb, at a time when these influences weren't as widely catered to. Before Stüssy, the youth were reinterpreting, borrowing and cutting garments up -- or, in the case of those seeking out higher-brow attire, stealing Ralph Lauren Polo. Stüssy filled a void; his work reflected what people wanted to buy.

Shawn's ideas developed organically, spurred on by the ever-expanding network of individuals he came across. "He just kept on meeting like-minded people that were interested in similar things," Stüssy's former creative director Paul Mittleman says. "It just kept on going." The International Stüssy Tribe, a club founded by Shawn, was the beating heart of the brand. One of the original members, Alex Turnbull AKA Alex Baby, remembers the first time he and Shawn met. Originally from London, then a hip-hop DJ in New York, Alex was hanging out with Jules Gayton, a DJ and part-time assistant to Jean-Michel Basquiat. They were routinely flying between London and New York, shuttling rare record collections across the pond. On one visit, Paul invited them over to the Stüssy warehouse. "It was basically a couple of rails of clothes in a space for something else, and Paul was just sitting there," says Alex. "I remember leaving with a T-shirt and a pair of the beach pants, and they were just mind-blowing." Never before had he seen such hip-hop amenable clothing. Not long after, Shawn would make a visit to London, attend a nightclub Alex was playing, and initiate six or so members with the now-infamous tribe jackets, complete with logos, names on the front, and 'Staff' stitched on them. Not your average hiring process.

With time, the tribe grew. In London, there was hairdresser James Lebon, Gimme 5 founder Michael Kopelman, streetwear scenius Barnzley Armitage, The Clash's Mick Jones, Big Audio Dynamite's Don Letts, and jungle pioneer Goldie. In New York, skater Jeremy Henderson, hip-hop A&R rep Dante Ross. In LA, thrasher Tony Converse. Not to forget streetwear kingpin Hiroshi Fujiwara in Tokyo. It was a network of taste-makers, skate rats and musical vanguards, spread across what Alex considers the world's most culturally adept cities. "With the exception of Kingston, Jamaica, of course," he's quick to note. Through his tribe, Shawn had innocently stumbled upon and mastered a communication method that a good proportion of brands are still eager to decode today. "Shawn even pre-empted the whole 'viral' thing, foregoing big budget advertising and trusting in the organic process of word of mouth," Don Letts remarks.

Profiling the brand in the 90s, BBC 4's The Look interviewed Shawn, as well as some of his associates in an effort to unpick the fashion phenomenon. Shawn's modest attempt to explain his craft was "pants and shirts... and jackets and hats." But behind the brevity of his response lay a firm confidence; after all, his formula of quality over quantity had garnered enough interest to warrant a BBC feature. "A lot of people collect them -- like these, there's ten of them, and some people buy every single colour", explains then-Stüssy's store manager James Jebbia, pointing out the 'S' logo baseball caps. As you'll likely know, he would later go on to found Supreme, streetwear's eminent household name. And just as Stüssy had done before, sampling, ripping and re-appropriating became key components of the Supreme creative vocabulary. The former's infamous interlocking Ss, a humorous ape of Chanel, would foreshadow the latter's cease-and-desist Louis Vuitton rip skate decks. Looking back, it was oddly prescient, given that both would work with top-tier conglomerate fashion houses years down the line.

Paul draws a parallel between Shawn's work and 80s postmodern art: just as Jeff Koons placed submerged basketballs in the gallery space, Shawn placed lyrics from American hip-hop duo EPMD on clothing. 'I get goosebumps when the bass line thumps', reads a now-coveted T-shirt. In introducing aesthetics and cultures deemed low-brow into public consciousness, Shawn's graphic style also shared much with graffiti writing, which, as Alex is keen to note, was still considered mere vandalism at the time: "You were still a criminal, it wasn't accepted as art," he says. Regardless of public opinion, that confluence of cultures it implied made it widely wearable, as Dante Ross echoes: "We could wear it to a thugged-out party, to a trendy event or to go skate in, all depending on how we wore it."

At a time when streetwear is unarguably ubiquitous, it's easy to forget that streetwear was counterculture. "Without Shawn, there would be no streetwear", says Ross Wilson, an acclaimed streetwear collector who sold a 1,000+ piece Supreme archive in 2018. "Shawn Stüssy is the reason I became immersed in this culture in the first place." And it doesn't seem like Stüssy's contemporary relevance is in decline -- if anything, the opposite is true. ALYX creative director Matthew Williams grew up a Stüssy fan, citing it as "the first fashion brand outside of huge sportswear brands that I became aware of." He now regularly collaborates with Kim Jones at Dior, and his work featured alongside Shawn's graphics in the house's Pre-Fall 20 menswear collection. And then there's Kim himself, who grew up working at Gimme 5, one of Stüssy's first UK distributors. "He's part of the community; he's not just an observer," Paul says.

While today the internet has allowed everyone, wherever they're from, the opportunity to engage with street culture, things were trickier in the 80s. But despite the developments since, Stüssy has far from lost its lustre. If anything, the past decade has reiterated Stüssy's position as a subcultural fixture. Whether throwing parties with Boiler Room or spotlighting Kiko Kostadinov, Stüssy has been - and still is - a driving force in contemporary culture and fashion. Nonetheless, its core values remain: quality clothing, radical graphics, and international community dedicated to representing the brand. As the network has expanded, it's only grown stronger. The launch of Stüssy's London Chapter store was a case in point: a BBQ attended by old disciples and a fresh batch of new ones. One of the newcomers to the brand, Jordan Vickors, is grateful for its illustrious history. "It's been my home since the second I joined; everything Shawn, Alex, Goldie, Paul have built over the years has provided me with a hub of creativity and energy. I can't thank them enough." Indeed, as a print on a particularly iconic Stüssy T-shirt, referencing Bob Marley's "No Woman, No Cry", reads: 'In this great future, you can't forget your past.'

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How Stüssy influenced generations of streetwear culture

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Stüssy's official launch date is anything but concrete. Don Letts, the musician, filmmaker and OG-affiliate of the brand says it all started in 1984, but Shawn Stüssy first remembers scratching his infamous punky scrawl in 1979.

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This article covers a brief overview of the history of palace and palace as a brand today. It is interesting to note who Hypebeast feels this brand applies to and calls the way they talk about their clothes 'roadman slang'. This is something that is unique to palace, the clothes descriptions never fall short of being wacky and hard to make sense of. Pieces and slogans that are made may not make sense to the public eye but one of the owners claims it makes perfect sense to them, hence making it such a unique brand. It is also important to note that Palace believe that the clothes are not just for skating but more for 'procrastination'. It is believed that going 'skating' is just an excuse for going to bars, seeing friends and being a topic of conversation.

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Palace Is About Skating - And Procrastinating

How Palace captured Tate Britain and Ralph Lauren without losing its grit, from HYPEBEAST Magazine Issue 24.

Ask a non-English person about London culture and you get some bad cliches: Rain. Tea. Pints. "Colour," spelled with a "u." Lads. Raves. Football. It's a small country with a big history of exports... except tea, I guess. Streetwear is on the city's list of rightful claims. It didn't start in London, but the English capital has put its own stamp on street style. Terrace culture - named for the standing section of soccer stadiums, where fans (often working class) are most belligerent - is a big part of the look. And at the heart of any good look is necessity. Like how to maneuver style-centric London roads while doing your best sober impression, for example.

You can tell by talking to Gareth Skewis, co-founder of Palace Skateboards, that he believes necessity, diversity and authenticity are the great, enduring style principles. Skewis and Lev Tanju have used these core beliefs to create the most exciting brand in streetwear over the past decade. They have done it smoothly, convincingly and unpretentiously. In short, they really didn't try all that hard, and that's entirely the point.

If you like non sequiturs and can decipher roadman slang, visit the Palace web store. The simple layout shows sold-out GORE-TEX jackets, tie-dyed pajama shirts and insulated puffer pants. The clothes aren't utilitarian, but there is an air of purpose within them - even if that purpose is chilling. You can see the obvious appeal of some things, why blocks-long lines form outside their three (physical) stores in London, New York City and, most recently, Tokyo.

Yet, beyond the immediate, fire awaits a more discerning eye. I ask Skewis about a piece from the Fall/Winter 2018 season: the "PAR" tops - featuring the Union Jack and Jamaican flags illustrated behind the Ryder Cup, an intercontinental men's golf tournament. Underneath the trophy, the shirt reads: "Different Strokes." Was the shirt an elaborate inside joke? Poignant social commentary? Both? "We're making pieces with the influences that we have, and the culture around us in London," says Skewis. "For us, that graphic makes perfect sense. And, to me, that's the most interesting part of our brand."
"There's no weird test, you either can see it - like, how they'll fit in the family - or not."
In 10 short years, Palace Skateboards has attained a rarified status some yearn for but never attain. Comparisons to legacy streetwear brands are common, but rarely exact. Palace is like a wearable postcard from London and its constituents. Not from Big Ben or Tower Bridge, necessarily. More from Clapham - where Tanju's parents owned a restaurant - or Waterloo, former home to an underground suburb of makeshift shelters called "Cardboard City." Skateboarding has historically thrived in areas like these. In San Francisco, there was Embarcadero: an open brick plaza that has struggled with the homeless as recently as 2016. In New York City, there was the Brooklyn Banks, an otherwise obsolete embankment underneath the Brooklyn Bridge. Sure enough, Palace's own story begins humbly in early-aughts Waterloo. Specifically, in a skate house on Lower Marsh Street. "It was a borderline squat; it was filthy," Skewis remembers.

"We called it a 'Palace' - it was an ironic name." Tanju shared the house with some familiar names: Danny Brady, Greg Finch and Stuart Hammond. There was a rotating cast of couch crashers. At least it wasn't corrugated.

But the Lower Marsh Palace - not to be confused with Toby Shuall's "Ice Palace" in East London was charming in skater ways. Its proximity to South Bank - one of the most influential skate spots in the world - and Cide, Greg Finch 's beloved skate shop, was perfect for their mini-scene. Rent was cheap, beers flowed, quips flew and the Palace Wayward Boys Choir was born. Soon, Tanju was creating episodes of the PWBC News: small mash-ups of early Internet fodder interspersed with skate footage. "It was a take on things that were going on around us, but also in greater culture."

Truthfully, skateboarding often involves not skating. Skating is figuring out where to go, talking about sports, arguing about music, picking up film and going to the bar. It's procrastination: elegantly, elaborately performed. And until Palace, it felt like other brands were too shy to talk about that. The not-skating part, that is.

This insatiable irreverence dictates the brand's partnerships. They're not unusual - just unorthodox for a skateboarding brand. First, it was Reebok Classics. "Lev and I always wore those shoes," recalls Skewis. "You can skate them, you can wear them to the pub." Then, skateboard decks for the Tate Britain, in which a John Martin painting was projected against a series of busts, the result screened across three boards. The Tate reached out first. "We thought it was, potentially, a hoax email." The ongoing partnership with adidas, first debuted in 2014, makes the most sense. But Angelique Kerber winning Wimbledon wearing a Palace-adidas tennis dress? An unbelievable achievement to Skewis himself.

But for all its interests, Palace does have a consistent, albeit loose, aesthetic. John Martin painted his grandiose, theatrical works in Marylebone; Wimbledon is home to modern lawn tennis. And so somewhere between curation and coincidence is Palace's great through-line: London. It's interesting to think about the overlaps between the brand and, say, a traditional creative agency. One is notoriously draining, a purgatory of infinite iteration, a glossy revolving door that kicks you on the way out. The other is a run by a group of friends. But both are tapped by brands to put their creative spin on products. Sometimes that product is modern art - but only Palace is having fun doing it.
"It was a borderline squat; it was filthy ... We called it a 'Palace' - it was an ironic name."
Tanju and Skewis carried this philosophy into their partnership with historic American label Ralph Lauren: Having fun here, imbuing bits of themselves elsewhere. Although the 18-piece collection released in November 2018, Skewis still sounds like he's processing his excitement when we speak: "Lev and I were writing Ralph Lauren a love letter for 50 years of business," he says. "It was a dream come true." While Ralph Lauren is a prestigious brand, Skewis admits that they weren't precious with their iconography. The resulting collection is respectfully cheeky and hilariously indulgent: the Polo Bear does a heelflip across a knit sweater (he's goofy-footed); a silk pajama set features an illustrated horse head, simultaneously grotesque and gorgeous; a corduroy shirt and chinos feature an all- over tuner car applique.

Creative direction was handled by the Palace family. Tanju and Hammond directed an accompanying video, shot in a Spanish desert, which features a horse show-jumping a Volkswagen Golf MK2. The lookbook was shot by legendary English photographer David Sims. Their relationship, naturally, is totally organic. "I think it comes from just living in London and being interested in other things," Skewis says. "You'll always cross paths with really talented, creative people." The same can be said for Palace's relationships with both Alasdair McLellan and Juergen Teller.

Moreover, the same can be said for Palace as a whole: from its newest amateur skaters - Kyle Wilson and Heitor da Silva - to its merchandising team, from graphic designers like Fergus Purcell to accountants. People who started as professional skateboarders have grown into other roles, and the people who run the brand are the same people you saw at Southbank. "It's nice to be in a position to help people maximize who they want to be," says Skewis. "There's no weird test, you either can see it - like, how they'll fit in the family - or not." The future of Palace, therefore, is secured in the age-old failsafe: true friendship. No matter how many stores they open (although "Tokyo, London, New York has a nice ring to it") it's easy to feel like nothing will change around Palace for another 10 years. Except maybe the limp - probably from a shiner.

THIS STORY WAS ORIGINALLY PUBLISHED IN HYPEBEAST MAGAZINE ISSUE 24: THE AGENCY ISSUE AS "ROYAL FLUSH."

Photographer

Lucien Clarke, Mike O'meally, Alex Pires

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Palace Is About Skating -- And Procrastinating

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Palace Is About Skating -- And Procrastinating: How Palace captured Tate Britain and Ralph Lauren without losing its grit, from 'HYPEBEAST Magazine' Issue 24.

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Like other streetwear brands I have researched, a large part of Palace today is the collaborations that they do every season. These range entirely and are in very limited supply, causing mile length queues outside their three existing stores in the world just for a chance to own something branded by Palace. Once again it sort of represents a badge of honour and being part of a special club. This article touches on some footwear collaborations that Palace have involved themselves in, however other collabs that deserve a mention are the tennis gear collaboration with Adidas which saw wimbledon champions take on to the court, and velvet loafers in collaboration with Ralph Lauren. And it is not just brands, recently there was a collaboration with Whitney Houston, which was simply a photo of her face and a small Palace logo, yet, like everything else Palace sells, it sold out in seconds.

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What do skating, the original Chicago house scene, the 90s UK rave scene, and a boys choir all have in common? Not a whole lot really... but if you add them all together and add just a dash (or a whole lot) of irreverent humour, you'll find the result is one of the biggest names in streetwear today.

Originally known as the Palace Wayward Boys Choir, the name originated from a squatter's house (home to the OG Palace crew) in London right near the famous Southbank skatepark. As mates joined the group along the way, the name evolved and was eventually stripped back once again to be the brand that we all know and somewhat fear a roasting from today. With their earlier collections of clothing consisting of medusa-head rip-offs (famously worn by Rhi-Rhi) and double Cs from Chanel, Palace have pioneered their own distinguished no f*cks given attitude and transcended it into trend-setting design.

From his humble beginnings as an internet café-based skate blogger and videographer, Palace creator Lev Tanju has really been out here hustling. In an interview between Fergus Purcell (designer for Stussy, Marc Jacobs, and more) and Highsnobiety, it was revealed that Tanju approached the legendary illustrator with an already complete business plan, and the only missing piece was a logo. Soon after that, the instantly recognisable take on the impossible Penrose triangle was born. With some help from London skateboarding institution Slam City Skates, and a little brand called Supreme, the ruthless, hilarious and seemingly unprofessional skate-wear brand become the forefront of street fashion.

The path that Palace skates has been unconventional, unpredictable, and extremely successful. The use of VHS-quality cameras in the 2010s seems ridiculous, placing Mitsubishi pressed contraband on t-shirts could be seen as questionable, and clapping back at customers on the Gram seems like a definite recipe for failure, yet, the London-based brand has people lining up all over the world to sell out garments in record times.

Founded in 2009, Palace has ollied higher and grinded further than many brands, and although their list of collaborators isn't as long as some - it's the quality that counts. In fact, the achievements on their wall would destroy any sort of cool-o-meter held against them. So far, they've had a Wimbledon champion don their adidas apparel, an internet-breaking collaboration with Ralph Lauren, and a launch party that Susan Sarandon attended. With such an impressive amount of accomplishments in a comparatively short amount of time, we've taken the time to bring you a list of their footwear collaborations.

Palace x Reebok Club C and Workout (2013)

Though the 'Bok is known for its aggressive basketball silhouettes in the States (e.g. Mobius), it's widely known for classic training shoes in the UK. With London roots and obvious home-city pride, Palace chose the most classically British silhouettes in Reebok's line: the Classic Leather and Workout. Their debut footwear release featured uppers made from premium leather and suede, gum rubber soles, and embossed Palace logo branding. The colourways are kept fairly simple across the range, except for the red, blue and white Classic Leather which is an obvious nod to the Union Jack.

Palace x Reebok Vulcanised Workout (2013)

December 2013 marked a revolutionary time in technology for skateboarding. With a single pair of vulcanised Reebok Workouts, riders were about to experience 9000 percent more grip, and have their skateboarding prowess enhanced by nine Taiwanese gigahertz thanks to a 'Luna Powered Flux Reducing Microchip'. Though the promotional video states that there's no scientific evidence to back any of it up - we're pretty sure it's true. Press play on the video below and prepare to be amazed.

Palace x adidas Palace Pro Trainer (2015)

After marketing material for their last collaboration with Reebok stated that it was 14.8 light years ahead of all competing footwear innovations, it was impossible to see Palace topping those enormous heights. When the news first surfaced that they had partnered with the Three Stripes we grew a little more hopeful, and then they dropped the Palace Pro Trainer. This completely new silhouette from the power couple incorporated parts of the adidas Gazelle and ZX Flux with extra features for extra freshness. With both brands at the height of their popularity, it was no surprise that they sold out in record time, which also meant that it was no surprise when so many people copped a devastating L.

Palace x adidas Palace Pro BOOST (2015)

While fans were still nursing their aching Ls from the initial Palace Pro drop, the London-based team were quick to apply first aid to their buyers' sores by announcing the next drop. A BOOST midsole was applied to the hyped-out Palace Pro collection which, of course, only drove hype higher. With a combination of both Primeknit and leather on the uppers, Palace promised that these pairs would make you run faster, jump higher and, most importantly, chill harder.

Palace x Reebok Club C and Classic Leather (2016)

While their partnership with adidas became an ongoing one, Palace reconnected with Reebok to deliver a collection of Club Cs and Classic Leathers. Accompanied by a hilarious video from streetwear aficionado Jonah Hill, there's not much we can say about this collection that Jonah doesn't say better.

Palace x adidas Indoor Pack (2016)

To accompany their FW16 catalogue, Palidas concocted up the stealth, sleek and stylish Indoor Pack. Featuring a visible BOOST capsule in the midsole, and large branding on the heel and tongue, the promotional video broke down PALACE and adidas into acronyms. Palace stood for Performance, Attitude, Libido-enhancement, Accurate sewing, Coolness and E xtravagant price point, while adidas cleverly stood for 'all day I dream about sportswear'. Absolute genius.

Palace x adidas Indoor Pack (2017)

First appearing on an ad in the London Underground featuring team rider Blondey McCoy, Palace followed up the announcement of their next adidas indoor instalment with a beautifully-designed Instagram post.

Palace x adidas Palace Pro 2 Waterproof (2017)

To mark the debut of the Palace Pro 2, both brands synergised and released an aqua technical iteration of their now famous silhouette. Hitting the market in murdered out black and a white/orange colourway, each pair featured an extended mesh upper bootie for extra ankle support, plus a one-piece synthetic waterproof upper with a clear outsole.

Palace x Polo Ralph Lauren (2018)

In what was quite possibly one the most impressive collaborations, nay, power moves of our time, the Palace boys (who had been wearing this brand for almost 30 years), found themselves in bed with none other than the legendary and iconic Polo Ralph Lauren. In a move that broke the Internet (arguably more than Kim K's derrière) the two brands launched three massive billboards in Tokyo's busiest crossing in Shibuya. While the world of streetwear was still in a mix of shock and excitement, Palace dropped a wild west-themed promo video that had fans staring blankly at walls while emotionally prepping themselves for a life-changing W or L. Despite having a natural preference for sneakers on our feet, we appreciate good design when we see it, which means there was absolutely no looking past the Palace Ralph Lauren Formal Slippers. We pay props where props are due.

Palace x Reebok Pro Workout Low (2019)

Palace rejoined forces with Reebok around the middle of 2019 for what would be the first of a steady stream of releases over the next 12 months or so. Their collaborative take on the Pro Workout Low came in three different colourways: white, bright red, and black/gum. The co-branded endeavour was confirmed throughout the silhouette, with Palace text appearing on the side window, a Tri-Ferg on one of the tongues, and large 'PALACE' and 'LONDON' text embossed on alternate heels.

Palace x Reebok JK Workout Mid (2019)

Continuing the momentum of the trio of Pro Workout Lows, Palace and Reebok delivered two colourways of the JK Workout Mid just a few months later. With a choice of either black or white, it was an understated duo that was living proof of the 'less is more' philosophy. The design was actually a mid-top take on the Classic Leather, while special Palace branding cues hit the tongues, icy outsoles, and the custom insoles.

Palace x Reebok OG Workout Ripple (2019)

The Palace and Reebok love affair continued well into the back end of 2019, when a vibrant trio of OG Workout Ripples dropped just before Christmas. The three mid-high models were released in a choice of blue, red or yellow, and were winter-ready - constructed with smooth leather uppers, the signature ripple outsoles, and intricate suede detailing on the tongue and lace stays.

Palace x adidas Skateboarding Puig Pro (2020)

Lucas Puig celebrated his long-term relationships with both Palace and adidas Skateboarding by combining their joint powers to deliver his third signature sneaker. Noticeably sleeker and more streamlined than his previous models, the 'Palace Puig' merged modern tech with old-school sensibilities. Debuting in three initial colourways - black, white and pink - each option was blinged out with heritage gold branding, while the tailored outsole tread kept wearers on the griptape or longer.

Palace x Salomon XA Comp ADV (2020)

In late August 2020, Palace released a tricked-out trio of the Salomon XA Comp ADV. On the surface, a skate brand tapping an outdoors icon known for its trail running tech might have seemed odd, but it was perfect timing as the off-road aesthetic continued to inform the ever-evolving sneaker zeitgeist. The pack included three different colourways, each inspired by iconic skateboarding kicks from the late 1990s. All three pairs came correct in Salomon's QUICKLACE and SENSIFIT system, as well as the 3D Advanced Chassis. Palace branding slapped the lateral toe, atop super sturdy Contragrip outsoles.

Palace x Reebok Classic Leather Pump (2020)

Palace and Reebok penned yet another chapter in their enduring love story towards the end of 2020 when they delivered an inconspicuous modification to a Vector favourite: the Classic Leather Pump. Moving the iconic Pump mechanism onto the side of the Classic Leather, this colab offered something a little different. Those retrofitted components also forced a change to the mid panel, with the side stripe stopping short of the Pump inflate and deflate buttons, which were branded respectively with Palace's 'Tri-Ferg' and Reebok's Union Jack logos. The release included two different colourways - white/navy and black/white - and boasted soft leather uppers with spongy nylon tongues.

For more collaborative deep dives, take a look at our jam-packed
Note: This article was first published in July 2019 and updated in December 2020.

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Since 2009, Palace Skateboards have ollied higher and grinded further than many brands, and although their list of collaborators isn't as long as some - it's the quality that counts. We've taken a look back at some of their footwear collaborations.

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Although Palace is not exclusive to just one type of customer, it appeals mainly to a male audience as the clothing is unisex but more driven towards male shapes. The age group varies but the general buyer is between 18-30 with a moderate income due to some high prices. Although it started as clothing to wear to skate comfortably in, it has since expanded and offers not only clothing but accessories, homeware and actual skate decks and set ups, the collaborations done mean that they appeal to a wider audience and remove the skating factor for some buyers, it is now seen as a casual clothing brand.

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Palace clothing is also now seen regularly on celebrities, both male and female, endorsing their products further and reaching to a wider audience.

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If you want to know who's actually cool at the moment, just look to see if their hoodie or jumper is adorned with a bold triangle motif - the trademark logo of skater brand Palace.

As fashion continues with its re-appropriation of streetwear (cult label Vetements is the pioneer of this), the profile of Palace has shot up. Rihanna and Drake are fans, as are A$AP Rocky and North West, who wears hers with high-tops and leggings. Queues form outside its flagship Soho store every time there's a new drop and it's now stocked at Dover Street Market - a signifier of cool if ever there was one.

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The brand was actually set up seven years ago by ex-skater, South London-born Lev Tanju for his skating friends, and named ironically after his then rundown living situation. Palace is now as popular as New York streetwear label Supreme, another fashion favourite, but has managed not to alienate its original customer-base. Prices are still relatively low, with T-shirts starting at £35.

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Despite the high demand, Tanju still only creates small runs of each item - which, as you can imagine, only makes everyone want them more. Buying one of its original triptych logo hoodies is like finding a fairy at the bottom of your garden.

So what's the appeal of Palace? Its elusiveness is key, but there's an unpretentious simplicity to their branded collections that's easy to fall for, as well as its 90s, nostalgic appeal. You can imagine Damon Albarn wearing one of Palace's hoodies, as much as you can Rihanna.

Here's to Palace Skateboards, who have hit the fashion big time without having been swept up in the hype.

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Palace Skateboards: The streetwear brand that the fashion world love

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If you want to know who's actually cool at the moment, just look to see if their hoodie or jumper is adorned with a bold triangle motif - the trademark logo of skater brand Palace. As fashion continues with its re-appropriation of streetwear (cult label Vetements is the pioneer of this), the profile of Palace has shot up.

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The Facebook page has 158,613 likes and posts get around 5k interactions, 1000 shares and 30 comments at a time, thus proving that Palace Skateboards have a large online following and interaction on this platform. Observation by the researcher found that there is a community within Facebook called "Palace Talk UK/EU" of which has 71K members. This huge demand for an engaging relationship with the brand has been created by the consumers to make up for the lack of communication from the brand themselves. On this page consumers post Palace merchandise for sale, styling tips, posts wanting to buy specific Palace garments and discussing the important drop dates and what people hope to purchase. An influencer within the streetwear scene stated "I think Facebook groups are a huge benefit to the fashion game. Not only do they allow you to buy and sell the clothes you want, they also allow you to connect and make friends with people that are interested in the same things as you." (Highsnobiety, 2017).

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Something that sets Palace apart from other brands and appeals to the customer is the fact that they have identified the target market and become relatable to the consumer. This is done through the use of language on social media and the website, and part of the Palace team are well known skaters that the buyers often look up to first. The way that Palace advertise themselves is through use of slang, and completely random wording - something that has never been used before in the world of fashion. Creator Lev Tanju says that he thinks of these captions when he is sat watching tv for instance, and jots them down. Most don't make sense at all but the brand don't need them to to be successful.

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This i-D article talks through a few different types of Palace buyers, from dads to celebrities to skaters. Palace's clothing started out as garments that were suitable to skate in and be comfortable wearing, but now it has broadened massively and the logo and clothing is recognised by a wide audience all around the world.

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In 2019, Palace hits the grand old age of 10. To celebrate one of British streetwear's biggest success stories, Paul Flynn sits down with Palace founder Lev Tanju to discuss the blood, sweat and beers that went into building the brand we know and love. While David Sims shoots a portfolio of the people who've defined one of men's fashion's homegrown success stories.
When browsing the rails of the Brewer Street Palace store in spring 2017, the skateboard label's devoted disciples happened upon a single racked T-shirt. Sitting alongside the familiarly failsafe edit of baseball caps, cagoules, penny loafers, track-wear, signet rings, button downs, slacks and boards, it didn't stay in the shop long. The T-shirt bore an image of Elton John in all his plumage: big hair, big jewels and diamante jacket, hammering away at his piano. With deft photoshop trickery, the two lenses of Elton's fabulous sunspecs had their arms extended, morphing into two of the brand's signature Ps, as if having a conversation with one another.

The item became an instantly covetable Palace classic: cheeky, British, funny, lavish and street. It brushed some of the outer edges of good taste Palace occasionally likes to tickle, to test the brand's originality, demography and audacity. The raw appeal of Palace lies somewhere between its rock-solid eye for clothes men want to wear and the idiosyncratic playfulness it can bring to them.

As with everything in the Palace lexicon, the Elton T-shirt came from a place of sincerity. A British skateboard label with global weight was never meant to happen. You only get there by teetering toward the edges of acceptability and enjoying yourself along the way.

On the label's website, the advertising caption underneath read: 'I don't have much money but boy if I did/I'd kill Ellie Goulding and smoke a large spliff', a reference to the singer's soporific recent cover version of Elton's evergreen classic for a John Lewis Christmas advert. Goulding had been rumoured to have sang Your Song in another iconic London Palace (Buckingham) at the nuptials of Prince William and the first civilian Royal, Kate Middleton. The high and low conjoined. London, retail, royalty, wit and good times. Peel away every visual signal thrown out from the house of Palace - the neoclassical pissing statue in its New York store, the badge of honour silver shopping bags, the Rolls Royce grill wall-mounted in the Brewer Street branch - and a pleasing backstory emerges.

At the time of writing, one of the Palace/Elton T-shirts is selling for £299.99 on eBay. Two years ago, it retailed for 35 quid, an entrepreneurial mark-up of almost 900% for one canny online dealer. By the time of reading it will be gone, another fleeting footnote in the best yellow brick road story in British menswear of the last decade.

In 2019, Palace hits the grand old age of 10. It is not just fashion's favourite menswear label. During its lifespan, without so much as a stumble or sidestep, the global reach of Palace has matched its fanciful early ambition. When it first appeared, if any professional game-plan loomed over its red-hot supply and demand chain, it seemed to have been sketched out roughly on the back of a Rizla packet by some scruffy lunatic at South Bank's skate park.

Palace began as a brand for skateboarders. It is now a brand for all. Models turn up for castings in Palace. Working class Glasgow dads sport Palace. Jay-Z wears Palace. So does Rihanna. Teenage girls sleep in Palace, dreaming of the heart-throbs they've seen wearing Palace online. 2018's Wimbledon finalists played on court in Palace. Soundcloud rappers adore Palace. The ICA exhibits Palace. Serious DJs with peerless techno collections adorn their record boxes with Palace stickers. Ravers ingest ecstasy pills produced in the shape of Palace's Tri-Ferg logo. Socio-political causes, including the plights of both Jeremy Corbyn and the people of Palestine, have been smartly memed in versions of the Palace triangle.

A middle-aged architect can slyly intimate he has better kids than his colleagues by picking something up at Palace, even if it's just their socks. Virgil Abloh and Marc Jacobs wear Palace. London tube station walls are adorned by carriage-length adverts for Palace. Palace has a shop in Tokyo to match the heavyweights in London and New York. The bigwigs at Ralph Lauren were so taken by the irrepressible rise of Palace that Palace became its first ever collaborator in 50 years of singularly myth-making fashion history.

Fashion's favourite photographers Alasdair McLellan, Juergen Teller and David Sims shoot for Palace. Silicon Valley is full of people in Palace. Blue-chip stylists buy Palace from their own pocket money to lend their imagery some of the company's off-rail styles and indigenous London magic. i-D and British Vogue carry Palace ads. Madonna and child (Rocco) have been photographed proudly wearing Palace. All the while, a fat lad on a Midlands housing estate is looking great and feeling even greater in Palace while waiting for his Chinese takeaway and playing Fortnite.

Palace has performed the unthinkable. Like Stone Island, Stüssy and Supreme before it, Palace is the menswear upsetter that can make the flash and cash of the big houses feel fussy, unfocussed and out of touch. Unlike its formidable forebears, Palace is a homegrown success story. Underneath its enviable reach, there is a heart-warming love letter being scripted to the country of its origin. Palace has made Britishness, in all its brilliantly ratchet, gnarly, self-aggrandising, nonsensical and amazing glory look like the best place on earth, precisely at the time it couldn't feel less like it.

"We didn't want to make a big thing about the 10 years," says Palace founder Lev Tanju, sitting in one of his perennial favourite Bloomsbury Italian restaurants. "We didn't want to blow smoke up our own arses." A half-eaten plate of filleted dover sole and a casual lunchtime bottle of Laurent Perrier blush sit in front of him. "It's only ten years. Some shit brands have been going for 60." He smiles. "It ain't rocket science, mate."

Presenting British youth culture at its most dynamic was always Palace's greatest sleight of hand, the ace up its sleeve. "It's not a trick because it's in everyone's face," Lev says. "It's just a question of looking out for it. The culture here is the most important and fucking amazing in the world. I just breathe it in. I'm so proud to be from London. This city is banging. There's no fake bullshit. This city oozes culture, realness, happy people, sad people, even the c*nts all add to it."

Transposing the culture around him to the shop floor was always the dream. "That's the only thing Palace was. We were true to London. We're not trying to be anything we're not. We're not saying fuck you, this is cool. Like it or lump it. It's basically representing London in a way that it's supposed to be represented. We're honest."

Lev Tanju, and by extension Palace is not a tricky puzzle that needs solving. "I'm a simple man," he says, "living in the best city in the best country in the world."

Lev Tanju took to skateboarding late. He was 18 when he first tripped along to the South Bank skate park, alone. "My best mate at school got a skateboard. I thought it was the coolest shit ever and I just copied him." He was a quick learner. "I got infatuated in some next level way. Watching videos constantly, 24/7, learning this thing, this art."

He is a naturally gregarious, open-handed sort. "I love things," he says. "I'm passionate rather than obsessive. When I love things, I want to know all about them. I want to meet people who know about them. I respect people that know about the things I love."

He was first introduced to the ideological concept of what a British skateboard family might look and feel like when he moved into a dilapidated walk-up beside another Italian restaurant, above a Greggs bakery on Lower Marsh, at the back of Waterloo Station in his early 20s. "It was sketchy," he says, "an absolute shit-hole." For £100 a month, an inconceivable rental bonanza in today's London, he couldn't expect much more. The first thing he did on moving in was to buy a miniature pet blue lobster, who he called Larry.

The house, a rotating sleepover for skaters from around the country, was falling to pieces. Dubbing it 'The Palace' was a verbal act of young irony and pride. A posh girl staying over for the night with an intermittent tenant once went to the kitchen to find water and was greeted by the site of a lone pot of caviar and a bottle of Prosecco in the fridge. ("Which we'd nicked, obviously.") Skateboards lined the stairways up to the bedrooms. One shoulder could barge the front door open. The boys lived off £1 Sainsburys microwaveable roast dinners.

For fear of a rental hike, a plumber was only called after four months of the residents of the Palace showering with sparks in front of their eyes. The tradesman identified a leak from the bathroom down to the fuse box in the kitchen. "He took a pencil from behind his ear, pointed at the damage and told us we were lucky we weren't dead." They rectified the problem by taping a shower curtain over the leak.

Everyone passing through the flat became entrenched in one another's lives. The gang first called themselves Palace Wayward Boys Choir and some of the Palace lifers still sport PWBC tattoos in an assortment of fonts. A family of skilled, elegant, daring skaters, dreaming of becoming pros, related by the genealogy of wheels not blood, began to bond. They took full advantage of living within easy walking distance of "free booze parties" midweek just across the Thames and would light up a room by walking into it. Given the opportunity, they would skate all day, every day.

The first Palace collection consisted of two T-shirts, one nicking the iconic Versace Medusa's head graphic that Lev himself designed, another emblazoned with the original Palace logo, the endless Penrose triangle designed by his great friend, the capital's master graphics craftsman, Fergus Purcell, who had previously worked on branding for two successful labels, Silas and Tonite. "Which I loved," Lev says. "Fergus is my fucking idol. We'd go to house parties and do mushrooms with him."

Fergus carries about him an air of mystical psychedelic positivity and good vibrations, a skateboarding shaman, a graphically gifted Gandalf the Grey. "I respected him deeply, loved all his graphics and his T-shirts. He's a fucking genius, man. I'm honoured to even be sat working with him, spending this much time working on Palace. He's the king of graphics. There is no-one like him and I've said it a million times. He's influenced everyone."

Another friend and skater, Will Bankhead designed skateboards, one featuring a goat-head man, one with Stella, another Palace resident and skater Joey Pressey's dog, and one with Bonnie Prince Billy, the Kentucky singer who records for his own label, Palace Recordings. It was the only international touch. The first shop to place an order was The Hideout, the much-loved, much lamented executive streetwear shop off Golden Square in Soho owned by London's guru of industrious street retail, Michael Kopelman. "That was like, woah," Lev remembers.

Palace established itself quickly and effectively in the London consciousness. Because the mainstream media has no apparent interest in skateboard culture, they were lent an instantly subversive, countercultural cachet that brands spend a lifetime trying to weave into their heritage. Because of the instant selective familiarity of YouTube, the brilliant videos Lev made of his mates skateboarding built a viral fanbase early, only adding to the market value of this exciting young enterprise in London menswear.

Larry the lobster lasted four years at the original Palace. Lev Tanju lasted ten. He'd like to see a blue plaque above the door one day. Maybe it will happen. Maybe Fergus will get to design it. "How do you do that even?" he asks. "That'd be so good, man. That would be banging." By the time he moved out, the rent had risen to a mere £130 a month. "We worked out that we'd basically saved about 50 grand from living there." A brand was born.

When Palace opened its Brewer Street flagship Palace London skateboards shop, several easy tenets were set out for the staff. The first rule of working at Palace is to be nice to the customers. Say 'hello'. Never forget your 'please' and 'thank yous'. Not in an obsequious way. Just to make sure people like being there. Just like Lev's mum taught him. "That's what makes the world go around," Lev says. "It's been drummed into my head since I was a kid because my mum has manners. It's important to have a smile on your face and be nice to people."

The shop was fitted out by a skateboarding hero of Lev's, Toby Shuall, for the same price they spent on a TV wall to display skate videos in the Tokyo unit. Lev chose the marble floor, like a nouveau riche housewife picking fancy kitchen surfaces. The Rolls Royce grill and picture of the Queen were inherited from his parent's Battersea restaurant, where Bros used to eat back in the day.

When the Palace brand started to exponentially expand, there was a suggestion that an outside designer, schooled in menswear ought to be brought in. Lev chose to keep it in the family, giving the head of design job to another skater and long-time collaborator, Gabriel 'Nugget' Pluckrose, named back in the day due to the shape of his head resembling that of a McDonald's chicken McNugget. "I said, do you know what? I don't trust anyone to do anything I don't have to look at apart from him. Whether it's socks or the colourway for a shirt, I'm going to have to go and sit beside them. I trust Nugget."

The Palace approach to menswear is refreshingly simple. "We all sit there together," he says. "We look at a big bit of paper and say, 'Nah, that's shit. That's good. That's banging. Wow, that is banging.' It's a family thing." They like to pick at the edges of acceptability in menswear without over stretching their game. "Nobody wants to look like a jazzy tosser," Lev notes. The affirmative decision to make the clothes you want to wear can only come from a shared eye, learned not by studying the minutiae of catwalks but by seeing the way men move and work best in clothes, together. By making the things you want to borrow off your pals.

"You'd be amazed by how many people at Palace have known each other for 20 years." The core family deserves individual itemisation. "I don't even like speaking about this particularly, because it's not mine to speak about. It's all of ours."

Lucien Clarke is one of the original skate team members, since 2009. He was born in Jamaica, lived in Queens NYC and moved to Victoria aged 11, where he still lives to this day. Blondey McCoy was the first Palace poster boy. Chewy Cannon is one of British skateboarding's nonpareil finest. Rory Milanes is "the one you'd want to introduce to your mum." Jamal Smith and Shawn Powers are the only Americans who skate for Palace. Heitor Da Silva is the newest addition to the team. Kyle Wilson joined at around the same time, in 2018. Will Bankhead and Ben Drury are key figures, intertwined deep into the Palace hierarchy. Stuart Hammond, an original inhabitant of the Waterloo Palace, was the first writer to get Palace into print. The Palace Poet Laureate.

Dino Da Silva (no relation) has become assistant designer and featured face of the advertising campaigns. Dino was introduced to the Palace family by Torey Goodall, a Canadian who met the crew serendipitously while skating in New York. John Knight has worked part time at the Palace store from the start, between designing and painting for boards. Toby Shuall helped build the temporary Palace skate park in Peckham. Nugget heads up the design team. Danny Brady manages "the unmanageable" skate team. Fergus is king of their graphic universe. And Gareth Skewis is the partner and business wing who breathed life into the amazing skateboard stratosphere of Palace.

It feels like no accident that a major British rock band hasn't emerged in the ten-year lifetime of Palace so far, to help define the look and sound of their moment. Maybe they're it? "Er, One Direction?" Lev interjects. "They're a band, aren't they? They're, like, the biggest ever." He laughs, taking another handsome swig of champagne.

Lev Tanju will sometimes get funny reminders of the reach of Palace, the idea he first cooked up living in little more than a personally embellished squat. When he booked Tim Westwood to play the New York store opening at Cielo nightclub in the Meatpacking District, Westwood's manager reminded him that this was his client's first New York gig. Susan Sarandon turned up that night. Lev spent most of it chatting in the corner with his mum and his sister. That weekend the shop was road blocked, and then police cordoned. "Madness..." he recalls.

When he sees a picture of Jay-Z wearing Palace on the Daily Mail sidebar, he shrugs it off. "People have to wear shit," he says. When he had his first meeting with Ralph Lauren about last year's blockbuster, sell-out collaboration, he told Ralph that he had been wearing his name inside his collar for the last 30 years. One day, a kid might say the same to the Palace boys. They'd like that.

When he took his driving test recently - for the third and successful time - he struck lucky with the instructor. On telling him that he had a clothing label, he noticed a sincere interest. "Then the questions started getting easier. No reverse parking. Totally fluked it."

Palace may be the best contemporary reminder of genuine, bona fide, street level British greatness at precisely the time we need it most. "Maybe we think about that, man," says Lev, raconteur, bon viveur, businessman and champion of the skateboard cannon. "That's the way we think in our office. Maybe there are times when people have to think, 'Ugh, the pound's just shit the bed because of Brexit. You want to stab yourself in the eye. It affects our business heavily. But we're not sitting there scratching our nuts, saying 'Oh fuck, what do you do now?' We're sitting there saying, 'OK, let's design the fucking Wimbledon kit. Let's go and meet Ralph Lauren in his office. Let's make good shit happen.'"

The waitress is hovering over the table with the bill. Lev picks it up discreetly on the way back from a smoke. "Pub?" he says.

Credits

Photography David Sims
Director Lev Tanju
Styling Gabriel Pluckrose
Text Paul Flynn

Hair Paul Hanlon at Julian Watson Agency. Make-up Lucia Pieroni at Streeters. Set design Poppy Bartlett at Magnet. Colourist Bradley Baker. Styling assistance Dino Da Silva, Julie Velut, Clemence Rose, Giulia Bandioli and Francis Plummer. Hair assistance Andrea Martinelli, Konstantinos Vrettakos, Nathan Jasztal. Make-up assistance Mirijana Vasovic. Set design assistance Roxy Walton, Daisy Azis, Mitchell Fenn and Caspar Bucknall. Set construction Cineco. Post by SKN-LAB Ltd. Production and Casting by Art House Agency. Models Rory Milanes. Jamal Smith. Heitor Da Silva. Kyle Wilson. Fergus Purcell. Toby Shaull. Jon Knight. Chewy Cannon. Lucien Clarke. Derek Lea. Anna Pearson. Hannah Ferguson at IMG. With special thanks to Ben Reardon, Sarah Dawes and Docklands Riders Club.

Models wear all clothing Palace.
This article originally appeared on i-D UK.

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how palace became a streetwear juggernaut in 10 short years

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In 2019, Palace hits the grand old age of 10. To celebrate one of British streetwear's biggest success stories, Paul Flynn sits down with Palace founder Lev Tanju to discuss the blood, sweat and beers that went into building the brand we know and love.

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Palace do many collaborations with a variety of different brands to appeal to a wide audience. As well as this, many lines of their clothing are part of diffusion ranges, such as Gore-tex

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PALACE GORE-TEX MASKED SOFT SHELL JACKET ORANGE

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100%none of thatlosing / forgettingyour masktype shitgoing on

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Hermes Spring windows at Hermes Maison in Shanghai 2019 - "pursuit of dreams".

- Windows are presented in a dreamlike way

- Using surreal artworks - the Surrealist movement centred around expressing dreams and portraying 'dreamscapes' and the unrealistic, fantastical aspects of life.

- Mysterious, leaves the audience wanting to find out more, therefore step inside or look into the scheme further. Everyone will interpret it in different ways as everyones dreams are different = unique experience for every viewer.

- Plays with artworks and theories, meaning there is context and meaning behind it which is left to discover. Audience can find out more.

- Chinese theorist Carl Jung, fits with customer and location of store.

- Simple but effective, only shows a few items in the window but that is all that is necessary.

- Pastel and bright colour scheme fits with time of year

- Garments used within the window display fit seamlessly with the flow of the artwork, so works perfectly

Overall the window design and theme does make the viewer feel more enticed into the store. The way it has been created feels more personal to the audience. It has incorporated a massive art movement into a sort of exhibition and makes the clothes not the only important thing to stand out there. It is not blatantly obvious that it is spring but methods used such as colour and garments shown show it in a more subtle, classy way.

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- Creative technology agency, created an interactive window display.

- Window displayed jeans with certain trigger points, passers by can interact, when they place their hand on it they get information about the history, denim and craftmanship of the jeans.This is an easy way of showing off more than a regular window can show and increases footfall as interactivity would entice more customers in that may not have visited before. Also helpful for people interested in shopping sustainably as it is such a big thing at the moment and many care more now about how their clothes are produced and distributed, with this store you can find it out before you even enter.

The way it has been shown on the window is simple but effective and you can see the products behind it. It fits with the brands existing identity well. Interactive windows will allow more people to share on social media as well, thus bringing in more people to the store.

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Mindmap with initial themes and schemes ideas for my store

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Mindmap with initial themes and schemes ideas for my store

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I have decided to look at the Brutalist style of architecture for my theme as I feel this resonates with the customer and can be portrayed in many different ways throughout the clothing and the store.

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Here is a small mindmap showing other windows and layouts that have given me inspiration for my chosen theme.

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Unusual shapes and expressive forms and structures are two key components to Brutalist architecture and I feel that this reflects on the structure of skate parks which links to Palace as a brand. This also gives me many ideas for creative window designs and works well without having to use mannequins as Palace don't actually show garments in their window displays, it is usually more artistically focused.

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Brutalism is a style with an emphasis on materials, textures and construction, producing highly expressive forms.

Seen in the work of Le Corbusier from the late 1940s with the Unité d'Habitation in Marseilles, the term was first used by Alison Smithson in 1953 for an unexecuted project for a house in Colville Place, Soho in which she described its warehouse aesthetic of bare concrete, brick and wood "as the first exponent of the 'new brutalism'" in England. However, it was architectural historian Reyner Banham's review in 1955 of Alison and Peter Smithson's school at Hunstanton in Norfolk, with its uncompromising approach to the display of the steel and brick structure and its services, that established the movement.

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Brutalism is a style with an emphasis on materials, textures and construction, producing highly expressive forms. Seen in the work of Le Corbusier from the late 1940s with the Unité d'Habitation in Marseilles, the term was first used by Alison Smithson in 1953 for an unexecuted project for a house in Colville Place, Soho in which she described its warehouse aesthetic of bare concrete, brick and wood "as the first exponent of the 'new brutalism'" in England.

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To tailor it specifically to the London store, I will link Erno Goldfinger's Trellick tower, a key brutalist piece of architecture that can feature on garments and the shapes created within the building can be reflected by fixtures in store.

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Liberty's Christmas windows 2020 were created to 'evoke emotion, strength and happiness' due to the UK being in lockdown and shops being closed. It was focused mainly on artwork created by the design team, this applies to the theme of my store as well as it will mainly be focusing on art. Illustrations were used to tell stories and were printed on plywood to add texture and "keep integrity of the hand painted artwork". This gives the store a more community based feel and shows everyone coming together around the festive season after a hard year of continuous lockdowns etc. The layout shows different depths for the artwork and echoes a stage set, in order to create an immersive experience. Although you cannot step into the Liberty store, you can still take in the joys of the store through the windows.

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These are a few buildings in London that have predominantly inspired my chosen theme for my store.

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In a previous year for Liberty, the Christmas window centred around a pink bonsai christmas tree, stretching up the height of the store. It was extravagant and luxurious and shows difference and innovation from regular christmas decor. It was wrapped in teal velvet and the branches were adorned with real moss and twinkling lights. Animal props were also used to intrigue the customer even more. Everything was sourced sustainably, the moss was sourced from the New Covent Garden Flower Market and natural dyes were used. Liberty prints were also used, so the customer can take something away from the display and use the design themselves. It was also sold in a variety of different printed products so customers could take the Liberty christmas theme home.

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Studio Goss has taken cues from the Brutalist movement in the layout and design of a Melbourne store, Kloke. They were inspired by forms and shapes from the era as well as textures and neutral colours. "The aim was to convey a sense of mass, as if the space had been carved out as a single sculptural object". The linear forms allows the store to flow excellently and gives it an open plan feel. Everything from the smooth concrete that looks like it extends from the floor acting as shelving and the cash register works organically together and resembles the original movement well.

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Architectural aspects were explored by Martino Gamper within the Prada windows of 2015. Panels of wood veneer formed enclosed angled spaces and were shown throughout Prada stores around the world. These windows inspire me as the main focus is not on the clothing as such but the space that is created around it, to make these windows different from any others. The inspiration came from natural materials, which is similar to what I am looking to explore for my window design. The floors and shelves have all be designed to organically flow together, something else that was prominent in brutalist architecture which is what I'll be looking at. According to the website, the designer "discovered his love of corners and began to probe the multiple emotions provoked by the single right-angled boundary" while studying at RCA and has experimented with this architectural element ever since. This particular study of structural elements and corners fits with how I imagine my store and window to be and replicates what I am trying to achieve with my scheme.

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Fendi looked at Italian architecture in their New York store. As they are an Italian brand, this fits with their branding and is effective, giving me inspiration to use British architecture as a theme for Palace. As well as in the window, Fendi have incorporated traditional Italian architectural features throughout the store which is something that I wish to replicate in my store design. It shows the brand keeping to its roots and makes them recognisable as a successful Italian brand.

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Hans Boodt. Mannequins - Recyclable, carbon footprint reduced. They have a second life program so mannequins that have been used can find a new purpose after being in stores, therefore less waste. These go to places such as museums and design academies in order to be more sustainable. Other mannequins that return to headquarters are able to be recycled into raw materials and energy, then being able to go on to be made into new mannequins or any other products so nothing goes to waste. The website claims the company has now "made sustainability one of our key drivers for the future".

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Genesis mannequins work off a sustainable basis and this has been an "integral part of the company's DNA" since the start. Genesis were the first manufacturer to produce mannequins using innovative ecological materials and processes based on scientific findings at the time of production. They use recyclable raw materials and innovative manufacturing technologies. They are motivated to produce the most sustainable product possible. The ecological footprint of every step of the process is examined constantly so they stay up to date with latest scientific and technological advancements. Every process is dedicated to being as green as possible in order to protect the environment. They work to a strict code of ethics, creating fair working conditions worldwide. Human rights are put first alongside transparency around production, the use of non toxic materials, prioritizing recycling, using energy efficiently and minimizing waste as much as possible. Fibers tested such as coconut, hemp, flax, recycled fiberglass, wood, viscose means sustainability and durability go hand in hand. Their mannequins are produced with the largest possible percentage of organic material, the basis being glass-fibre reinforced polyester which has been replaced by high-quality bio resin by 47%. The resin consists of 100% sustainable raw material. GENESIS are the only retail mannequins that include this unique resin.

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Article outlining how it is possible to create sustainable mannequins and what sustainability really means.

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Having recently read an article entitled; Sustainability In Retail: Good For Business, Great For Humanity, written by Roy Erez, and this got us thinking about the supply chain for mannequins in retail.

The article starts out with the following paragraph

Consumers, especially younger ones, are seeking brands that publicly champion values that align with their own. They're demanding socially conscious mission statements, checking the political views of executives, and pressing companies to make both their products and businesses sustainable. Their concerns are not limited to materials and packaging. They're looking to buy from companies that focus on sustainability across the entire supply chain and all business operations.

With this in mind we started to analyze, the many conversations we have had with leading retail buyers and heads of VM, in some of the large global brands we work with.

We get asked questions about sustainability a lot, but the reality is that not everyone understand what is involved in developing products that are recyclable and sustainable. When this is allied to the many suppliers who are using smoke and mirrors to bamboozle potential customers, with talk of bio resins, biodegradable materials and processes to try and substantiate their position as ethically sound, it becomes very confusing indeed.

Many retailers now have sustainable champions and departments, whose role it is to look beyond the materials, into the manufacturing, processing and disposal of products. This means that they are getting more knowledgeable about sustainability but what does sustainability actually mean?

In 1987, the United Nations Brundtland Commission defined sustainability as "meeting the needs of the present without compromising the ability of future generations to meet their own needs."

This report says that sustainability should consider a balance between ecological, social and economic aspects (plant, people and profits)

So how should a retailer who is serious about working with ecologically centered suppliers look at this in the mannequin world?

Historically mannequins were made from Fibreglass, they used fossil derived resins from petroleum, with glass matting. This process has been improved over the years, through the use of bio resins, but just because it has the word bio in front of it, it doesn't mean if it is used, it makes the mannequin sustainable.

We need to look further into the origin of this resin and how it is used with a matting (either glass or plant fibre) to provide a structurally sound mannequin. What processes are involved in taking the plant fibre, whether hessian, bamboo etc and spinning it into a usable matting and how bio is the resin, what proportion of the mannequin does it actually affect?

As manufacturing methods moved on, mannequins started to be produced in Plastics, these could be made in Polyethylene, Polypropylene, Polyurethane, Polystyrene, ABS or Polycarbonate. As most plastics use vital fossil based oils in their manufacture, we need to consider the statement that they are sustainable very carefully.

So how can IDW claim to provide sustainable mannequins?

IDW are working with their suppliers, to investigate the possibility to replace traditional hydrocarbon based feedstocks for its Polystyrene material with renewable feedstocks, based on a mass balance approach. This would allow us to increase the use of certified renewable raw materials into classic value chains, reducing greenhouse gas emissions with each kilo of product used, without altering the product material and specifications.

The biggest question any retailer should ask their supplier is how much of your product is derived from bio based materials and where does this come from? This will then start to determine the sustainability of the product.

Once sustainability has been established, it is important to look at the recyclable or decomposition properties of the plastic. In the case of Polystyrene, ABS and Polycarbonate these have been easily recycled for many years, with the material either being re-used or re purposed. In IDW's case we use recycled Polystyrene by incorporating this within our mannequins. It can also be usedin the thermoforming, injection molding, construction industries and many items that can then be ground down and re molded and reused several times.

Other plastics whilst being classed as recyclable can't always offer the same levels or ease of re-use as Polystyrene, ABS or Polycarbonate.

Finally as well as looking at the origin of the material and the reuse of the material, we should also look at the process of manufacture. How is the mannequin made? What are the molds that are used to forge the shape made from?

"And finally there is a whole debate about the use of plastics in general. We think that plastics are not necessarily a problem. On the contrary, they can also present opportunities to solve environmental concerns, but the question is how do we chose to deal with plastics.

Although mannequins are not single-use plastic products and, given the commitments by most of the major fashion brands towards sustainability, should not end up in the ocean or landfills (especially those that can be recycled), IDW also recognizes its responsibility to contribute to global efforts to reduce plastic waste. Therefore, we have recently partnered with Plastic Bank which transforms sensitive coastal ecosystems while uplifting communities in need. The plastics collected by people in coastal communities can be exchanged at Plastic Bank 's chain of stores for income, as well as household staples and access to healthcare and education."

Once all of these elements have been reviewed, then we can start to form a view on the claims from a company that it is offering a sustainable, recyclable and ecologically neutral product. You don't need to be a chemical engineer to understand this, but by asking clear and concise questions and researching all elements of the lifecycle of the product, from source, production and reuse, you can clearly understand which products fit the sustainable ethos of a brand and which products meet the criteria of the brands highly demanding consumers and which suppliers are really working with retailers in partnership to deliver this.

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Article - Sustainable Mannequins - IDW DISPLAY

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Having recently read an article entitled; Sustainability In Retail: Good For Business, Great For Humanity, written by Roy Erez, and this got us thinking about the supply chain for mannequins in retail. The article starts out with the following paragraph Consumers, especially younger ones, are seeking brands that publicly champion values that align with their own.

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Last year Nike redesigned the layout of the flagship London store and started incorporating plus size mannequins alongside para-sport mannequins for sportswear displays. This was done to better display the range of items for sale and make it applicable for everyone. It was controversial to some as it was said that "the war on obesity is lost". However Nike responded and said the original aim was to "celebrate the diversity and inclusivity of sport". Other changes within the store include an LED curtain with shifting display, wrapping around a footwear zone. An expert studio area offers services such as sports kit customisations and bra fittings, tailoring it perfectly to the customer.

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This Urban Outfitters window has inspired me for my project by its window messaging. I like the simplicity as it is very on brand and conveys the message effectively. It looks almost hand written so makes the brand look authentic and informal which appeals to the target market. It doesn't take away from the clothing that is being shown and matches with it well. Palace's displays are simple and don't usually use window messaging however if I was to put some on my window design I would keep it simple like this.

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Selfridges use a lot of props in their window displays and this one is useful inspiration for my project as it doesn't show garments, just an artistic display which is the idea I am going with. In terms of messaging, I again like the simplicity both in the colour and wording itself. It links with the display perfectly and is effective to passers by without them having to stop, it is simple to understand and portrays the message well.

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With all of Palace's previous campaigns, they have kept it simple. No garments are ever shown in their displays and it usually stays as the tri ferg palace symbol displayed in different ways, usually considering the season and themes and schemes that are being promoted at the time. This window was an electronic display for a pop up store in LA. By keeping it simple and not showing too much it keeps mystery to what is in store and for the target customer, putting clothing in the windows is not seen as necessary. The stores are all fairly small as well so the Visual merchandising inside is what is most important.

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This window is similar and only uses the logo, however there is some simple window messaging used promoting a brand that is being worked with. As buyers of Palace are custom to queues, this window works well as it is fully open back and you can see everything inside so you can view the products as your queueing. This ensures it is easy to move in and out of the store.

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This window was used in a collaboration with Adidas. Palace are known to do yearly collaborations with Adidas - this window actually shows off some of the products. The two logos as window graphics works well as it is simple but lets the customer know the newest collaboration instantly as Adidas is recognisable. It is still open back therefore able to have a look into the store, however there is a shelf feature that shows off some of the key collaborative items.

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Palace are known to hold many collaborations both with other brands and also celebrities. Most notably recently was a collab with Whitney Houston. This means it reaches a larger audience and these releases are usually very limited in stock so become 'rare'.

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Just weeks after releasing a collection with 90s legends Happy Mondays and collabing with cult cycling brand Rapha, skateboard brand Palace is dropping a capsule collection honouring the one and only Whitney Houston.

The collection - which pays homage to the singer as she gains a spot in the Rock and Roll Hall of Fame - includes a varsity jacket made by revered American sportswear brand Ebbets, crewneck tees, sweatshirts, and baseball hats, all emblazoned, varsity style, with Houston's name. Elsewhere, the late singer is given a Palace makeover, appearing in one iconic photo wearing a vintage logo vest.

To make it even better, all profits from the collection are going directly to the Whitney E. Houston Legacy Foundation, which connects with grassroots programs and initiatives to support youths in need.

"We are very excited to have collaborated with British streetwear brand Palace skateboards for such a special cause... celebrating Whitney's legacy and supporting her charitable foundation," said the singer's former manager and sister-in-law, Pat Houston. "No doubt she would have loved to have worn it herself." Time to put "I Wanna Dance with Somebody" on repeat, we guess.

The Palace x Whitney Houston capsule collection is set to release online and in-store on November 13 and on November 14 in Japan and China.

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Whitney Houston gets her own dedicated Palace collection

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Just weeks after releasing a collection with 90s legends Happy Mondays and collabing with cult cycling brand Rapha, skateboard brand Palace is dropping a capsule collection honouring the one and only Whitney Houston.

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- witty
-  humor
- entertaining
- original
- uses language that usually makes no sense, hard to decipher but that isn't the point of it
- friends
- casual
- carefree
As the palace window schemes are usually extremely simple, I won't be incorporating any window messaging onto my own design to stay on brand. The only graphic used is usually the logo.

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This neo-rebellion trend has interested me as well as I believe it could fit with Palace's brand values and past campaigns they have done. It focuses on younger groups of society which my brand appeals to. Other brands have expressed this using artwork such as graffiti, which is mainly why I was so drawn to this idea. As Palace is a skate brand, graffiti is a massive part of skate culture, and every skate park is covered in expressive colourful art and has become a dominant part of actually going skating. It also links really nicely to architecture and could be incorporated onto a campaign that is focusing on brutalism as it isn't uncommon to see graffiti on buildings of that style. In terms of garments, a focus on colour, printed graphics and urban art all link perfectly with Palace as a brand and past schemes they have done.

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This SS21 forecast trend from WGSN interested me alot as it relates to the theme that I have picked for Palace. It explains how art and architecture could be incorporated into collections and luxury brands may look at this and base campaigns off of it. Reading this, I feel confident that using an architectural movement such as brutalism is on brand for palace and can be explored in different ways, therefore being a successful campaign.

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Palm Angels have styled tracksuits in their SS21 campaign, which is applicable to palace. The oversized fit is applicable to continuing trends and the simplicity of the black and rainbow stripe is inspiring to my collection and is a simple full outfit.

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Weekday have used muted colours similar to how I envision the collection I pick to be. The two-piece trend continues here and is something that is applicable to the brand I am using. It offers a simple outfit that can be interchanged in many different ways and also offers comfort, something that is highly important in current climates and is a feature that buyers are looking for more and more when shopping.

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Skechers have also done a campaign focusing on typical streetwear, oversized garments and muted colours. The use of graphics is something that caught my eye throughout the entirety of their SS21 campaign as it is something that Palace focuses on season after season. The overall neutral colours with pops of colour is effective and makes the campaign wearable to customers

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Marcelo Burlon has used casual streetwear but incorporated smarter pieces such as shirts into their campaign. Palace has done this in the past and my collection I have picked also uses this idea so it is not all tracksuits. The mix of smart and casual is completely on trend especially at the moment with covid and the need for comfort however also being able to look presentable. Muted colours are also mainly used for the bulk of the outfit however prints on the shirt allow there to be more of a graphic feature.

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Palace keeps it clean and simple when it comes to modelling and styling their products. In AW campaigns alot of layering is used as Palace outerwear is incredibly in demand and great quality and usually sells best. Hoodies and sweatshirts are offered all year round in different styles depending on the campaign that is being promoted. Palace also sell alot of two piece sets such as tracksuits, both long and short and other matching pieces. This makes styling effortless and seamless and shows the garments to be easy to style and put together, which appeals to the main target audience. Within each campaign Palace do not only offer certain colour schemes, there is usually a multitude of different colours in each style to pick from, allowing them to either colour block or use varying tones of similar colours whilst styling. Graphics are also incorporated in Palace's styling often due to collaborative pieces and highly sought after seasonal designs. These are usually paired with basic garments such as their jeans which gives inspiration to those that own similar clothing.

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Board created showing inspiration for how Palace would style pieces I have picked for the collection

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- Start with bulk of outfit and add accessories and shoes afterwards. Leaves great opportunity to change things around
- Jewellery and smaller items to fit in the gaps of the bigger items
- Leave negative space where necessary as it can work in your favour
-  Edit on lightroom or photoshop to bring photo to life

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This is an article explaining how the manufacturing of Plywood is a more sustainable practice compared with other traditional lumber practices. I have chosen to use plywood for this reason and the fact it is easily shaped so can be shaped into a ramp to fit my window design.

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Meet the perfect sustainable kitchen design material

We all want to live happier, healthier lives and using wood from sustainable sources helps both ourselves and the environment to do so. Luckily, there have also been many breakthroughs in interior design to help us with greener living. One such breakthrough is sustainable plywood. Thanks to advanced engineering, kitchen design using plywood is at the forefront of home sustainability. Read on to discover why a sustainable plywood kitchen is a perfect choice.

A Word on Sustainability

Sustainability, a buzzword when it comes to green living, refers to practices that do not deplete natural resources. Sustainable development, production methods, and sourcing practices take a long-term view, aiming to meet the needs of the present without compromising the future. According to the Brundtland report, it is essential that the global community work together to use fewer resources. Or to commit to using resources that are strictly sustainable for next generations' needs to also be met. That's exactly why we started our Respect Food project.

What is Plywood?

Plywood (also known as veneer ply) might sound like a fairly new concept, but the first occurrence of using layered wood dates back to Egypt, 1500BC. However, the first standardised sheets of plywood as we now know it today was only introduced in America in 1928.

Plywood consists of thin sheets of wood (also known as wood veneer) and adhesive. The layered sheets and adhesive are compressed to sufficiently bond and create the final product. Plywood is used in construction because of its strength and durability, and also in furniture making because of its versatility.

How can plywood be sustainable?

The sustainability of plywood is determined not only by how the wood is being sourced but also by the manufacturing process. The wood wastage of the plywood manufacturing process is significantly less when compared with traditional lumber practices. Choose FSC (Forest Stewardship Council) certified plywood to guarantee ethical manufacturing and ensure that the plywood is formaldehyde-free. Formaldehyde had always been used in the adhesive, but its use has significantly decreased since 1979.

One of the many great aspects of plywood is that it is affordable, which not only makes it an ethical option but a budget-friendly one too.

Plywood sheets can be made from hardwoods, softwoods, bamboo, or a combination of different wood. The best practice is to choose plywood that is locally sourced from sustainably managed forests, and that is also produced locally.

Plywood Pioneers

Plywood is resurfacing as an excellent construction material and enjoying a new-found admiration for its inherent aesthetics. Witlof is one pioneer company that strives to create original and bespoke kitchen designs while aiming to find new ways of using materials and the latest technology. A Witlof kitchen is characterised by the use of plywood and contemporary cabinetry. Witlof also has a sister company, Holte, which aims to create affordable, sustainable kitchens with craftsmanship-quality and environmentally responsible materials.

Opendesk is another company at the forefront of alternative manufacturing, opposing mass-produced items and encouraging local makers to grow their craft. The concept may be simple, but revolutionary. Find a design you like on their website for which you will then receive quotes from local makers in your area. You then choose a maker and get your furniture within four weeks. The Opendesk process cuts out shipping and uses plywood as their primary material. The furniture for living rooms, offices, bedrooms and kitchens are made with CNC machine manufacturing, which is one of the most resource-friendly methods of building furniture.

How To Use Plywood in the Kitchen

From walls to utensils, plywood is versatile enough to use throughout any kitchen.

Walls
Structural plywood can be used as a central element in the building of a home, but often needs to be AA grade interior plywood to achieve a suitable look. Interior plywood is not a structural element, but it does offer more strength and support than drywall making it a great choice for cladding. Alternatively, sealed plywood can be mounted to an existing wall to add the natural look and warmth of wood.

Floors
Beautiful plywood floors are a great affordable alternative to solid wood floors. Whether as a plank floor or a parquet floor, plywood flooring options are endless. While these floors are not necessarily as durable as solid wood floors, they can last a lifetime with the same care and attention afforded to solid wood floors.

Cabinets
Cabinet-grade plywood is generally made from hardwood with the inherent properties of the source wood providing the colour and pattern. Birch or ash wood are often used and have a beautiful light colour. The options for cabinet doors are endless: from plain contemporary and cottage panels to decorative designs. Choose to keep the wood aesthetic or add a paint finish to suit your kitchen style.

Countertop
Finished plywood can even work as a kitchen countertop. Ensure the top is sealed correctly and apply the proper care as you would with solid wood tops.

Interior Styles Perfect for Plywood

Sustainable plywood is a great choice for any kitchen, regardless of the interior style. Plywood can be painted to cover the grain or stained to any colour, which will retain the grain of the wood. However, some interior styles are ideal for the freshness and lightness of plywood. Here are our favourites:

Contemporary
Contemporary interiors are all about experimenting with new designs and pushing boundaries. The casual aesthetic of plywood can create a great contrast with a sleek subway tile backsplash and black marble countertop.

Scandinavian
Scandinavian style is known for incorporating blond plywood furniture into interiors, often with white-dipped accents. Stick to the simplicity of the style by incorporating light plywood cabinetry with black or white detail in kitchen finishes and utensils.

Japanese
The Japanese are known for their awe-inspiring wood structures since most homes consist predominantly of wood. These interiors follow a minimalist principle by keeping only the necessary items in a kitchen. A kitchen may seem unembellished, but the use of wood with a defined grain adds a natural beauty that ensures a harmonious and calming atmosphere. Choose plywood with a clear grain and light tone for a Japanese-style plywood kitchen design.

Industrial/Loft
The industrial look of loft kitchens pays homage to the structure of the building; brick, concrete and wood often function as part of the interior décor. The beautifully layered edges of plywood expose its manufactured core, which is why they are perfect for industrial kitchens. Choose a cabinet design and finish that exhibits the lovely layers for all to see, combined with stainless steel details for a sleek look.

Plywood is one of the most versatile modern building materials, suitable for both structural and decorative elements in your home. Get the ultimate green thumbs-up by ensuring your plywood is sustainably sourced and produced and know that you're doing your bit for the environment.

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How Sustainable Plywood Is Changing the Way We Design Kitchens

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We all want to live happier, healthier lives and using wood from sustainable sources helps both ourselves and the environment to do so. Luckily, there have also been many breakthroughs in interior design to help us with greener living. One such breakthrough is sustainable plywood.

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I have found some fairly priced Plywood, which is going to be painted over to fit the grey, bleak colour scheme, I am choosing to buy 4 sheets which are just over 2 metres each as I think this will be suitable for the length and the width of the window.

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Another element of my window is a large vinyl sticker of the tri ferg logo - a classic part of all Palace windows. To find a suitable price for this, I have been given a quote from vinylrevolution.co.uk, giving me an accurate price from precise measurements and details I have given them.

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In terms of painting to achieve a grey finish for the ramp, this article goes over the best paints to use directly onto plywood. Water-based acrylic-latex paint seems to be the most suitable for this as it is a lighter paint, there is no need for anything with extreme durability as the ramp won't actually be in use.

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Unless a project you make out of plywood is something temporary or it is just going to spend its life in the garage, you're probably going to want to apply some sort of finish to it. Finishes enhance the appearance of the original wood, as well as helping to protect it. There are many ways of finishing plywood, from painting it to applying laminate. Which you choose will depend on what you're making, how you intend to use it and how much you have budgeted for the project.

There are a few exceptions. Phenolic plywood comes pre-finished, eliminating the need for any sort of finishing. There are also some newer plywood products, which come with a laminated finish layer attached. But most plywood doesn't already come finished, leaving that for you to do.

Of all the possibilities, painting is generally the simplest and least expensive finish you can apply. Painting also gives you the opportunity to add color, which is great for kid's bedrooms, play rooms or accents throughout the rest of the house. It's also a great finish for things that you intend to use outdoors, as it will protect from the rain, as long as you have the wood totally sealed. But you want to give whatever you make a good paint job, because poorly painted plywood looks like nothing more than... poorly painted plywood, whereas well painted plywood can look great.

Filling holes and sanding

Any good paint job starts with preparing the wood. That starts before the project even begins. I say that, because proper material selection, looking over the material to ensure that it is undamaged, will make a difference in how easy it is to do your surface preparation. Damage can also happen to the various project parts, in the process of building it, so you always want to make sure that you always take care with all your parts.

Once the project is built, it's time to prep it for finishing. That means filling holes and sanding. Again, how you do that will make a difference, as you must pick prepping techniques and materials which are compatible with the finish you are going to use. Since we're talking about painting, that material selection is much simpler than if we were staining and varnishing, as the color of the filler doesn't need to match the color of the wood.

If you're making furniture for use in your home out of plywood, you're probably going to want to use high-grade plywood, such as a cabinet grade hardwood plywood or a sanded softwood plywood. But for the sake of discussion, let's assume that you aren't using that and have instead made your project out of construction grade plywood. Can you still get a good finish? Yes; but it takes more work. Even low cost construction plywood can be made to look great, with the right sort of surface prep and paint.

Making construction plywood smooth

The first step in prepping the surface is filling nail holes, splits and knotholes, trying to make the surface as smooth as possible. Typically, nail holes, knotholes, cracks and other irregularities are filled with wood putty, but that's not the only material you can use. Both drywall mud and spackling can be used to fill and surface plywood and provide a smooth finish. However, neither of these filler products are as strong as wood putty, so they should not be used where they are likely to be bumped or rubbed up against.

Drywall mud is an especially good surface filler if you are using C-D grade construction plywood and want a smooth surface. Skim over the entire surface with a thin layer of drywall mud, using a broad drywall knife, 10" or 12", just as if you were trying to finish drywall. Allow the mud to dry fully and then sand it smooth, using 120 grit sandpaper. If it needs another coat, due to some especially bad areas, apply it, allow it to dry and sand again. This is the best way to fill in the grain, providing a smooth, even surface.

Keep in mind that any wood filler you use, whether wood putty or drywall mud is going to shrink some when it dries. So don't be surprised if you have to apply more than one coat. In that case, you'll want to sand between coats, with 120 grit sandpaper, so that you are applying the second coat over a smooth, level surface.

Be sure to sand and fill the ends of the boards too, as they will often be rough and most plywood will have some voids. Filling also allows you to fill in end grain, providing a smooth surface for painting. You may find it easier to apply the filler here with your fingers, rather than a putty knife. Using your fingers allows you to press the filler into the end grain, as well as any voids that are visible.

If your project is going to be used outdoors, you might want to fill the edge with painter's caulk, rather than wood putty, again rubbing it in with your fingers. This will allow you to seal the end grain and keep moisture from wicking into the plywood. Moisture is always much more likely to wick into the end grain of wood, than it is into the surface. Since plywood has end grain in all the edges, they all need to be well sealed and paint isn't enough.

Finish sanding of plywood should be done with 220 grit sandpaper. If you have a lot of filler, you may want to start with something coarser, like 120 or 150 grit, and then move to 220 grit. It is not necessary to use anything finer, as the paint will smooth the surface.

Always wipe off the dust created by sanding the surface of the plywood, before applying the primer coat. Use a soft dry cloth for this, shaking the cloth out, away from the project, so as to not be putting the same sawdust back down on the project in a different area.

Plywood primer

You may choose to prime your plywood project or not prime it. However, priming is usually recommended. Primers are used to seal the surface of the wood. Unlike paint, they won't soak into the wood as much, but will dry quicker than they soak in, sealing the grain. By using a primer, you'll actually use less overall material, as you won't have all your paint soaking into the plywood.

Applying plywood primer, Theron Burger

At the same time, primers promote bonding between paint and the project you are painting. Some of the newer high-quality acrylic-latex paints are a paint-primer combination, eliminating the need for a primer.

If you paint a project made out of plywood with latex paint, not paint & primer in one, and don't use a primer, you'll find that you use twice as much paint for the first coat, as you will for the second coat. That's because that first coat is soaking into the wood, sealing the pores. The primer would have done that, without using so much material.

The visible difference that priming will make is remarkable. Since the primer seals the pores, preventing the paint from soaking in, the paint will build up on the surface. That means you'll actually have a thicker paint finish, after applying two coats of paint. The surface will appear smoother and the grain in low-cost construction grade plywood won't be so visible.

If you are going to paint your project with latex enamel or an oil-based paint, rather than interior or exterior latex paint, you definitely want to prime it first. Enamel paints do not dry well when applied directly to wood. In this case, the primer acts as a barrier, allowing the paint to dry properly.

Applying any primer coat is as important as applying the finish coat. You want to apply the primer smooth and evenly, so that you don't leave any drips, puddles or streaks. The texture of those irregularities will show through the finish coat of paint. One thing that helps is to always brush in the direction of the surface grain, using long, smooth strokes.

After your primer dries, always check your project, before painting. It is not uncommon for flaws in the wood or lack of putty in holes to show up after the primer dries, that you couldn't see before. If these problems occur, merely add more putty, sand the affected area again and touch up your primer.

Light hand sanding of the primer, with 150 or 180 grit sandpaper, will help your project to come out smooth. Often, the primer coat will cause a "fuzz" to "lift" off the surface. This is made of wood fibers, which are not fully attached to the surface of the plywood. These will knock off easily, with the light sanding, helping you to get a smooth finish.

How to choose paint for plywood

There are a large variety of paints which can be applied to plywood. For most projects, water-based acrylic-latex paints are the easiest to work with. However, if you want a semi-gloss finish on your project, you will need to use an acrylic enamel and if you want to have a high-gloss finish, you will need to switch to an oil-based enamel paint. Both enamel and oil-based paints require a primer coat, before painting.

Enamel paints are popular for places where they will receive a lot of wear or where they need to resist dirt. The enamel provides a harder coating than latex paint, which resists wear well, such as wear on a tabletop or the arms of a chair. Likewise, enamel paints hold up well under situations where they are washed often, usually due to surfaces getting dirty.

When kitchen and bathroom cabinets are painted, enamel paints are preferred. Not only do they provide a smoother, glossier finish, which stains won't seep into; but they can be washed repeatedly, without damaging the paint itself. Using semi-gloss or high gloss enamel finishes for furniture and shelves used in children's rooms, works well, allowing you to keep things looking clean. Flat or eggshell finishes, which don't contain enamel, don't clean anywhere near as easily and might stain permanently.

For extreme durability, epoxy paints are excellent, although they are expensive. This is actually a low-viscosity two-part epoxy compound, tinted for use as paint. Once mixed, you have a limited work time. But you will end up with a much more durable coating than you can get with any other type of paint.

Always use quality paint to get the best finish. Higher quality paints have a higher percentage of solids in them, which results in a thicker, more durable finish. They also tend to cover with less coats. While you will always need to use at least two coats of paint on a new project, with high quality paints that is all you should need. Two coats of a high quality latex paint will totally cover the wood and should hide the texture of the grain; a low cost paint will not do so as well.

Spray painting plywood

Spray painting plywood is not practical in most cases, because there really isn't all that much paint in the can and it is applied in a very thin coat. Because of that, the paint will not have any wear protection. Rather, the paint will end up being almost like a wood stain, if it is spread over a large area.

However, spray paint works well for small projects and small areas, especially if the surface is extremely smooth. A spray primer should be used first, to seal the wood and allow you to get the most out of your spray paint. Then apply the spray paint in several thin coats, always painting past the end of the piece in each stroke. That will help prevent paint puddling at the ends of the strokes. Applied in this way, spray paint can provide a very glossy finish to plywood projects.

Emulsion for plywood

Emulsion is a plastic paint, basically designed for use on drywall. Yet some people try to use it for plywood as well. That doesn't work out real well, because the emulsion isn't designed to stick to wood. If you want to use emulsion with wood, you should first prime the wood thoroughly, using two coats of primer, and then apply an emulsion topcoat.

How to get a really good paint finish

As I already mentioned, the first step to getting a good paint finish is how well you putty and sand the project, before you start painting. Every imperfection in your surface will show up as an imperfection in the paint. Don't think that your paint can fill in those imperfections, because it can't. If anything, it will magnify them, especially if everything around the imperfection is nice and smooth.

Using the right type of brush is important to getting the best possible finish. Only use quality brushes, if you want a good finish. For latex based paints, a nylon brush is the best and for oil-based paints, china bristle is best. China bristle is available in black or white bristle, allowing you to pick a brush with a contrasting bristle color to your paint. This makes it easier to see if you have properly cleaned your brush when you are done.

Quality brushes make a difference. To start with, they hold more paint, so you won't have to make as many trips back to the paint can for more. The bristles on these brushes are carefully trimmed as well, making sure they are of the same length. That affects the finish, as different length bristles can result in more streaks in the paint. A quality brush is an investment and will last for years, if cleaned properly after each use. I have quality brushes that I've owned for over 30 years and I'm still using them.

Always plan out the pattern of your painting, before beginning. Many projects work out so that you have some parts which are harder to reach than others. Those are the ones you want to paint first, leaving the easier to paint surfaces until last. You want to try and avoid reaching over a freshly painted surface, in order to reach something you missed.

With plywood, it works best to paint edges first, and then paint the larger flat areas. That way, if you end up with a drip or sag, it is more likely to be on the edge, where it is less visible. Those drips and sags are extremely visible on the large flat areas that plywood projects typically have.

Use a wet brush to paint, not a dry one. The idea isn't to see how far you can stretch the paint, but rather, to see how much paint you can get on the surface, without getting to the point of having the paint sag or drip. Keeping a wet brush will ensure that you are putting a thicker coat of paint on the surface. Always paint only in the direction of the wood's surface grain. If you need to go across the grain for some reason, brush over that spot in the direction of the grain afterwards, to minimize brush marks.

Always figure on having to apply two coats of paint, taking the time to do each of them carefully, with ample drying time between coats. Check the project, between coats, for any drips and sags. If there are any, they can be removed by sanding or by scraping them with a razor blade, allowing you to have a smooth surface for the final coat.

Painting plywood for outdoor use

When painting plywood projects which will be left outdoors, it is important to apply a minimum of three heavy coats, which seal the wood entirely. As an alternative, you could apply two coats of paint, over two coats of primer. Either way, the idea is to fully seal the plywood.

I already mentioned using caulking on the edges of panels, but caulking should also be used wherever two pieces of plywood are joined together, so as to keep moisture from becoming trapped in those joints and soaking through some pinhole in the paint to attack the wood.

Don't forget that installing hardware will break the seal the paint has created around the wood, making a place where moisture can seep in. This problem can be eliminated, by removing the screws again and either dripping a heavy-bodied latex paint or a touch of painters caulk into the screw hole. Then, when the screw is reinserted, the paint or caulking can form a seal between the hardware and the plywood.

Tips and warnings

One great trick to save paint on large projects is to have your paint store tint your primer. With a high quality, high solids paint and a primer that is tinted to be close to the color of your paint, you can usually get away with only one coat of paint over the primer. However, this should not be done for work that will be exposed to the weather, it should only be used for work which will remain indoors.

Adding Floetrol for water-based paints or Penetrol for oil-based paints helps the paint to "flow," smoothing out the "grain" that the brush produces and making a more uniform finish. Proper use of these additives can make the brush strokes totally disappear in the finish.

When painting to the edge of a piece of plywood, always paint past the edge, rather than stopping your brushstroke at the edge. Stopping at the edge will cause paint to puddle there. Check after painting, to ensure that you didn't leave a drip around the corner.

Only dip your brush a maximum of halfway into the paint. I often limit it to 1/2 inch for plywood projects, although I'll go halfway into the paint for home painting. You want to avoid getting paint up into the ferrule; that's the metal part that holds the bristles in place. Paint in the ferrule will harden, causing the bristles to break off.

Proper cleaning of brushes is extremely important. If you clean your brushes thoroughly after each use, there is no reason why a brush can't last you 10 years or more. As I said above, I have some brushes that I have owned for more than 30 years, and am still using. After cleaning, comb out the bristles to straighten them, then wrap the brush back up in the original packaging, or in newspaper, to hold the bristles in position and prevent damage to them.

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Unless a project you make out of plywood is something temporary or it is just going to spend its life in the garage, you're probably going to want to apply some sort of finish to it. Finishes enhance the appearance of the original wood, as well as helping to protect it.

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This paint I have found is the perfect colour, I would get 4 tins of it as they are 5 L so this would be more than enough - also the shelves will be painted with this as well. It is waterbased which is suitable for use on plywood and there is no need for a primer underneath.

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For the Shelves I have decided to look into using reclaimed wood in an effort to be as sustainable as possible throughout my window design. This company sells reclaimed wood in all shapes and sizes and it is all fully recycled. I have decided to use recyled 3" thick timber and this is £7.20 a metre, I would get 3 metres.

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We collect wood from local building sites - it costs less to recycle with us than to dispose of wood. Local builders please contact us!

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The Useful Wood Company - Recycling wood, transforming lives

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We collect wood from local building sites - it costs less to recycle with us than to dispose of wood. Local builders please contact us! We have a great choice of wood for small building projects and DIY available at our wood store. Open 9-5 weekdays and 10-2 Sat.

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79% score on CV360

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Amelia Fawcett - Fashion Retail Academy - Haslemere, England, United Kingdom | LinkedIn

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