But branding is more complicated than that. Maybe subcultures are always about turning lifestyles into business — or the very similar goal of never having to grow up. Department-store chains were too mainstream for the Hundreds; instead, they wanted to get their T-shirts into certain skateboard shops or independent “streetwear” stores. But lately he has come to the conclusion that to join the time line of underground movements that left a mark on the culture, he has to figure out how to get aNYthing recognized well beyond Delancey Street.
(“We were the first generation, and only one, to enjoy sneaker consumption on our own terms,” Bobbito Garcia declares in his book about sneaker-hunting in the 1970’s and 80’s, “Where’d You Get Those?”) Eventually the sneaker companies began to cater to this market, manufacturing rarity through “limited editions,” commissioning small runs of sneakers made for specific stores or designed with the help of people like Mister Cartoon or Neckface. He made the transition from painting on subway cars to selling paintings in East Village galleries back in the 1980’s. He wanted to get these ideas across to others, but instead of writing a novel or making a series of paintings, he started making T-shirts. Of course, companies don’t go into business in order to express a particular worldview and then gin up a product to make their point. Supreme caught on in Japan, and by the time Bondaroff was 21, he was visiting Tokyo and getting asked for autographs by kids who had seen his picture in magazines. Many of them clearly see what they are doing as not only noncorporate but also somehow anticorporate: making statements against the materialistic mainstream — but doing it with different forms of materialism. A-Ron was not only cool enough, he was photographed for Supreme ads and became its “unofficial face.” He offered his opinions about what would make the photo shoot work better or which underground artists the brand should work with. and even logos (like the artist Raymond Pettibon’s for the L.A. punk band Black Flag) started to matter almost as much as the bands. Corporate branding is a function of the profit motive: companies have stuff to sell and hire experts to create the most compelling set of meanings to achieve that goal. A-Ron, as he is also known, is one of those individuals who embodies a scene. He would make his mom drive him, or when she wouldn’t, he would take a bus to the Union store in Los Angeles, where the coolest stuff was sold. Nigo, a Japanese designer, built a fanatical following for his A Bathing Ape brand partly because he collaborated with so many graffiti writers and others who had an aura of authenticity that impressed young, hip Japanese consumers. The first store they set their sights on was Fred Segal, the trendsetting boutique in Santa Monica. Some of the most comprehensive guidelines you’ll see. 79 Clerkenwell Road The point of aNYthing was to turn his lifestyle into his own business. Bobby did his best to clue me in.
The Underground is also home to one of the world’s largest ad spaces – both in the stations and on trains – and it is utilised by London Underground as well as thousands of other brands from around the globe. Indie businesses are a means of dropping out? A campaign we felt, through its notoriety, has gone on to inspire similar style campaigns, as we were inspired by yesteryear rail and Underground advertising in our approach.
We couldn’t have been happier to oblige. They were also plotting a Web site — part magazine, part online store for selling some of the antiques they have collected.
Aside from aesthetics, what makes London Underground the Great British Brand I believe it to be today is what it represents in my eyes as a British civilian: diversity. Barking Irons got attention in the fashion trade press and on blogs like Coolhunting.com — and from an apparel distributor called Triluxe. It is part of our daily lives; to service our journeys to work, to socialise or to see different parts of the capital. When he talked about it, he seemed to be grappling with the kinds of things that had bothered me earlier when I had been trying to figure out whether there was more to the Hundreds lifestyle than buying certain products and brands. Bobby also has a MySpace page and more than 3,500 “friends” (in the MySpace sense of the word). Which is why, actually, Cowley was not so much praising the bohemian idea as scorning it. Instead, in 2003, he founded Barking Irons — the name is 19th-century slang for pistols — a line of T-shirts with stark but intricate graphics that looked like old woodcuts, paired with mysterious phrases that refer back to the secret history of New York. A-Ron’s preferred form of expression, however, is none of those things.
Warhol’s Factory laid the foundation for giving consumer objects fine-art scrutiny, and Keith Haring’s Pop Shop built on that foundation, but it is hard to imagine that either artist could have predicted such a thorough product-as-medium spectacle.
Underground users are six times more likely to recall adverts with a 79% response rate, which is now said to grow due to internet accessibility. One of these images ended up on the front page of Hype Beast, the streetwear blog.
The “NY” in the logo resembles that of the New York Giants football team, and aNYthing designs often blend familiar New York iconography (from The New York Post nameplate to Lotto signs) with the brand’s name. But the word “parody” can be misleading: often the visual references are more like a sampled bass line — recognizable to some but not to others — that makes a remix add up to more than the sum of its parts. One thing that has changed since the days when they scrambled to make a living is that Japanese consumers have embraced certain small New York brands as something culturally significant and worth a price premium. In our present era, however, he may not have to settle. In the commuters and tourists, I see and hear people taking the time to relax, reflect, think, converse or connect, alone and/or with each other. My absolute favourite, from one of my favourite artists, McBess, The Travel Better campaign. A keen awareness of and cynicism toward this core fact of commercial persuasion — and the absurd lengths that corporations will go to in the effort to infuse their goods with, say, rebelliousness or youthful cool — is precisely the thing that is supposed to define the modern consumer. Countless others have come and gone. The design takes the logo of Tommy Boy, the pioneering hip-hop label, and reimagines its three silhouette figures in the style of the moshing cartoon teenager used as an emblem of the legendary Southern California punk band the Circle Jerks. What bothers Casarella about mainstream branding are big, blatant logos that turn the wearer into a walking advertisement and are supposed to function as simplistic “badges.” That approach, he suggests, is what makes big brands as shallow as most Top 40 music or Hollywood movies. And in its advertising and design I see the expressions from thousands of brands and people behind those brands trying to connect with their audiences – from the desperately mundane to the weird and wonderful, from the crass and crowded to the beautiful sculpted. TheHundreds.com featured Bobby’s essays and interviews with people he admired: “The culture’s finest brands, artists, designers, photographers, retailers and media,” the site says.
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