Tribal And The Cultural Legacy Of Streetwear

Tribal Streetwear is lifestyle streetwear brand that seeks to represent a variety of southern California sub-cultures that includes graffiti, street art, skateboarding, surfing, tattoos, hip hop, breakdancing, punk, lowriders, and custom culture. Based in San Diego, California, Tribal has strong Chicano roots in its aesthetic and spans the globe with retail stores on several continents. The text presents a series of articles, essays, and personal reflections that explore the various dimensions of Tribal Streetwear, and how the impact of their designs continues to balance the precarious act of being relevant and responsible with their resources. The book is divided into four sections. Section 1 features essays that set a context for the text. This includes a history of Tribal and where it fits within the history of streetwear, a personal narrative of the founding of Tribal, and lastly an essay on the uniqueness of southern California aesthetics and the fascination with this southern California inspired fashion. Section 2 is a series of interviews with notable artists, musicians, and cultural tastemakers that have contributed toward street culture and Tribal. These include Mr. Cartoon (tattoo artist), RISK (graffiti artist), PERSUE (street artists), Mike Giant (tattoo artist), Dyse One (graffiti artist), Craig Craig Stecyk III (skateboard culture), Bob Hurley (surf culture), and the Beastie Boys (hip hop). Section 3 includes a series of invited and peer-reviewed academic articles on distinct subjects within the street culture genre that further dive into the inputs and influences of Tribal Streetwear. They include breakdancing, surfing, skateboarding, graffiti, street art, tattooing, music (hip-hop/punk), lowriders, custom culture, and Chicano Studies. Section 4 is a series of photo essays that capture the three decades of Tribal Streetwear and serves as a visual history of the brand and the evolution of its graphics.

The story of civilian clothing use during World War II. Manufacturing for civilians across the globe nearly stopped at the outset of World War II, as outfitting troops took precedence over nonmilitary production. Raw materials were prioritized for the armed forces and the majority of non-military factories were shifted to war work, resulting in shortages and rationing of consumer products. Civilians, especially women, responded to the resulting scarcity of goods by using ingenuity and creativity to "make do." In Clothing Goes to War, Nan Turner offers a critical look at some of the resourceful results of this period as necessity paved the way for fashionable invention.

An exploration of the many issues and debates that surround the idea of luxury. The idea of luxury has secured a place in contemporary Western culture and the term has now joined common parlance in both established and emerging economies. Crafting Luxury explores contentious issues surrounding perceptions of luxury, its relationship to contemporary branding as created by marketers, and the effect this has on consumers and their purchasing habits. It examines the industry structures, analyzing production practices as well as the effects of hierarchies on both internal and external perceptions of luxury, from the makers to the sellers and consumers. Offering different perspectives and interpretations of luxury, the authors dissect the work of companies across the industry, from established companies to emerging models and from conglomerates to small independents. They further explore the impact of technology on consumption, manufacture, the retail environment, and sales, providing a true insider's view of this complex world.

“A revelation. Reclaiming fashion from its European history.” – Shane White With a focus on sub-Saharan Africa, Fashioning the Afropolis provides a range of innovative perspectives on global fashion, design, dress, photography, and the body in some of the major cities, with a focus on Lagos, Johannesburg, Dakar, and Douala. It contributes to the ongoing debates around the globalization of fashion and fashion theory by exploring fashion as a genuine urban phenomenon on the continent and among its diasporas. To date, “fashion” and “city” have not been systematically related to each other in the African context and, for too long, a western-centric gaze has dominated scholarship, resulting in the perception of Africa as provincial and its visual arts and textile cultures as static and folkloristic. This perspective is all the more distorted, given Africa's rich sartorial past. With a huge number of tailors ready to adapt and renew clothing, reshaping garments into contemporary styles, and many cities in Africa becoming hot-spots for a steadily growing and well-connected scene of fashion designers in the past 20 years, the time is ripe for a reevaluation and reconsideration of the fashionscapes of Africa. Leading scholars offer an updated empirical and theoretical foundation on which to base new and exciting research on sub-Saharan fashion, challenging perceptions and offering new insights.

In this feminist history of eight centuries of private life in China, Francesca Bray inserts women into the history of technology and adds technology to the history of women. Bray takes issue with the Orientalist image that traditional Chinese women were imprisoned in the inner quarters, deprived of freedom and dignity, and so physically and morally deformed by footbinding and the tyrannies of patriarchy that they were incapable of productive work. She proposes a concept of gynotechnics, a set of everyday technologies that define women's roles, as a creative new way to explore how societies translate moral and social principles into a web of material forms and bodily practices. Bray examines three different aspects of domestic life in China, tracing their developments from 1000 to 1800 A.D. She begins with the shell of domesticity, the house, focusing on how domestic space embodied hierarchies of gender. She follows the shift in the textile industry from domestic production to commercial production. Despite increasing emphasis on women's reproductive roles, she argues, this cannot be reduced to childbearing. Female hierarchies within the family reinforced the power of wives, whose responsibilities included ritual activities and financial management as well as the education of children.

A lavishly illustrated study of the heavy metal battle jacket in a historical and cultural context. Since the 1970s, customized denim "battle jackets" have been worn by heavy metal fans to signify their devotion to the music and subcultures of metal. Embellished with patches, badges, and studs, these jackets are works of art that communicate the values of metal to the world at large. This book features a series of detailed paintings that visually document examples of jackets alongside photographic portraits of the fans that wear them. Reaching across a range of fields from art theory to ethnography and subcultural studies and informed by a series of interviews with metal fans, this book considers the significance of battle jackets in metal scenes and traces a lineage of customized clothing starting in the Middle Ages.

Illustrated with 200 stunning photographs and encompassing objects from furniture and ceramics to jewelry and metal, this definitive work from Jo Lauria and Steve Fenton showcases some of the greatest pieces of American crafts of the last two centuries. Potter Craft

Change is inevitable. This is the only constant in our lives. Yet, change is also something that we fear. We seek comfort in the familiar, in routines and in conventions. We are afraid of things that we don't know or we don’t understand. We fear change because we don’t know how change will affect us. Change, however, is necessary for progress. Sometimes, change happens naturally due to circumstances beyond our control, and sometimes we initiate change because we can or because we must. In 2020, we experienced the biggest change of our lifetimes. For a brief moment in history, the world came to a halt. Then, everything changed. Many things that we used to take for granted no longer applied. We experienced major disruptions to our daily lives. As if in some kind of perfect storm, so many things happened all at once – global pandemic, social inequalities, climate change, racial injustices, riots and unrests, gender struggles and rapid advances of new technologies. This book started to take shape in the midst of it all, and in a way, it is a time capsule of how we experienced the birth of what became known as the 'new normal'. Designers are the kind of people who thrive in times of change. In fact, it is their job to create change. The nature of their job is such that they have to take an existing situation and change it into a better, or a more preferred situation. Some do this by relying on their imagination and personal experiences, and some use evidence-based research to inform their work. Regardless of this, many share the belief that they can somehow make the world a better place – on a micro or a macro level. During this period of massive change, Gjoko Muratovski invited ten highly influential design figures – including iconic design leaders such as Carole Bilson, Karim Rashid, Bruce Mau, Steven Heller and Don Norman – to reflect on the state of things today. In return, each one of them shares a highly personal account on why change is good. The book also features a foreword written by the president of the World Design Organisation (WDO), Srini Srinisavan, and a conclusion by one of the greatest design philosophers of our time, Ken Friedman. By looking to the past and reflecting on the present, these designers project very personal images of the future that they would like to see. The conversations are very broad, and they cover highly diverse topics. From the effects of the pandemic, to issues of race and gender, notions of beauty, technology and industry, to global and local economies, politics, power, privilege and the importance of community. A 'must-read' for anyone interested in how designers and design can change the world. Gjoko Muratovski is a university executive, award-winning designer and innovation consultant working with leading organisations, Fortune 500 companies and governments from around the world, and a fellow of the Design Research Society.