In a few minutes this past Tuesday, Brooklyn sneaker company MSCHF (pronounced Mischief) sold two dozen shoes for U.S. $1,425 each. The customized Nike Air Max 97 sneakers called ‘Jesus Shoes’ were blessed with religious symbols: Holy water from the River Jordan were injected in the sneaker bubbles, the Vatican-red insoles were scented with frankincense, and a steel crucifix dangled from the shoelaces.
The shoes were made as a parody of the absurdity of collaborative products, although the irony may have been lost on its buyers as many of the shoes have already been resold for more than double their original cost.
In honour of Sneaker Day (first observed in U.S. in 2016), I am posting My Adidas by Run-D.M.C. from their 1986 album Raising Hell. The song, unsurprisingly, led to an endorsement deal between Adidas and Run-D.M.C., which began a long association between sneaker brands and Hip Hop artists.
My Adidas Walk through concert doors And roam all over coliseum floors I stepped on stage, at Live Aid All the people gave an applause that paid And out of speakers I did speak I wore my sneakers but I’m not a sneak My Adidas cuts the sand of a foreign land With mic in hand I cold took command My Adidas and me both askin P We make a good team my Adidas and me We get around together, rhyme forever And we won’t be mad when worn in bad weather My Adidas… My Adidas
Standin on two fifth St. Funky fresh and yes cold on my feet With no shoe string in em, I did not win em I bought em off the Ave with the tags still in em I like to sport em that’s why I bought em A sucker tried to steal em so I caught em and I thwart em And I walk down the street and I bop to the beat With Lee on my legs and Adidas on my feet And now I just standin’ here shooting the gif Me and D and my Adidas standing on two fifth My Adidas… My Adidas
Now Me and my Adidas do the illest things We like to stomp out pimps with diamond rings We slay all suckers who perpetrate And law down law from state to state We tracel on gravel, dirt road or street I wear my Adidas when I rock the beat On stage front page every show I go It’s Adidas on my feet high top or low My Adidas… My Adidas
Now the Adidas I possess for one man is rare Myself homeboy got fifty pair Got blue and black cause I like to chill And yellow and green when it’s time to get ill Got a pair that I wear when I’m playin’ ball With the heal inside make me ten feet tall My Adidas only bring good news And they are not used as selling shoes They’re black and white, white with black stripe The ones I like to wear when I rock the mike On the strength of our famous university We took the beat from the street and put it on TV My Adidas are seen on the movie screen Hollywood know we’re good if you know what I mean We started in the alley, now we chillin Cali And I won’t trade my Adidas for no beat up Bally’s My Adidas
The Montreal millinery company Kates Boutique was founded in December 1969. Kates was a supplier of basic fashion headwear to bridal shops, department stores and hat salons across the country. The company was incorporated in March 1993, at which point its official name was changed to Kates Millinery (1993) Inc. The company ceased production in January 2002 and was legally dissolved in December 2003.
An interesting article appeared in the New York Times today about the history of hard hats. Here is a synopsis:
When Edward W. Bullard returned home to the U.S. after serving in France during World War 1, he suggested that his father’s business, which made carbide lamps and other supplies for miners, make hard hats modelled after the metal helmets worn by soldiers. The first models were made of steamed canvas and leather and painted black. They featured an interior fitting that created a suspension system for the outer shell which took the bulk of any impact. The first lot was put into production in 1919.
Over the years the hats were made of different materials: aluminum, fibreglass, and eventually plastic. As the industry grew, so did competition from other companies: Honeywell, Kask, 3M… but the Bullard company, headquartered in Cynthiana, Kentucky is still in business and still family owned.
Forever 21 just filed for chapter 11 bankruptcy protection and will close almost 1/4 of its stores and withdraw from some overseas markets.
Originally called ‘Fashion 21’, the company was founded in April 1984 by Korean born Do Won Chang as a young woman’s boutique in Los Angeles. The shop has focussed on trendy fast fashions although it now also includes some girl’s and menswear. Over the past 35 years, the company grew into an international brand and retailer culminating in 800 stores around the world – its largest growth period (doubling in size) occurred in the last decade.
The company has come under criticism over the years. There were some employee relations issues but also accusations of sexism and of pushing a Christian agenda via sayings written on shirts. There were also issues of shortchanging customers on refunds, using toxic materials in its jewellery production, and copyright infringement lawsuits by a number of companies, including Diane von Furstenberg and Gwen Stefani. Most lawsuits were settled out of court. It’s almost impossible for such a large company to avoid lawsuits, however, the company is equally litigious towards others.
Vera Neumann (nee Salaff) was born June 24, 1907 and attended art school and the Traphagen School of Design. She began working as a fashion illustrator before going into textile design. After marrying George Neumann, the two founded a silk screen textile printing company called Printex in 1942. Her first signature printed scarves appeared shortly afterwards and quickly became popular sellers.
In about 1959 she adopted a ladybug motif which appeared alongside her signature scarf, linens, and yardage prints throughout the 1960s. The motif gradually fell from use, disappearing by 1976. Five years after the death of her husband in 1962, Vera sold the business to Manhattan Industries but remained their creative director. The company expanded into sportswear, eventually hiring Perry Ellis to oversee the sportswear and luggage divisions.
Vera’s artwork was critically praised and shown in galleries during the 1970s, especially her Japanese sumi-e (ink painting) designs that she preferred to use for most of her work. In 1988, Neumann began licensing her name to Salant Corporation, closing her Printex business later that same year. She remained head designer until her death on June 15, 1993. Vera Licensing was sold on to The Tog Shop in 1999; resold to Susan Seid in 2005; and sold again in 2013.
‘History Bounding’ is a recent trend for enthusiasts who dress in contemporary clothes styled after an historical period or person. It began six years ago when Canadian blogger Leslie Kay, who was headed for Disney World, began a blog called DisneyBound where she styled modern outfits for Disney characters. The trend grew from there.
The results run from costumey looking cosplay outfits to contemporary fashions that don’t readily appear to have an historical reference. The most successful looks fall between these extremes. I suppose you could call it historical appropriation!
The topic of fashion and cultural appropriation rears its head once again – this time Dior is in trouble for an advertising campaign that got nixed before it was even launched. A campaign for their men’s fragrance Sauvage (which means ‘Wild’ in French), starring Johnny Depp, has already been pulled. Clips of a Native dancer and Rosebud Sioux Native actor Canku One Star are shown between images of Johnny Depp playing the guitar and doing ‘Johnny Depp’-like loner activities.
Dior said in a release that the advertisement “was meant to be a celebration of the beauty, dignity, and grace of the contemporary Native American culture”. It was created with the full cooperation of the Americans for Indian Opportunity (AIO) organization who stated: “The goals of AIO for providing consultations on media productions are to ensure inclusion of paid Native staff, artists, actors, writers, etc., to educate the production teams on Native American contemporary realities and to create allies for Indigenous peoples. AIO does not speak for all Native Americans. We are proud to have successfully achieved our goals of education and inclusion for this project with Parfums Christian Dior.” However, once a massive backlash began over the advert, AIO wrote via Instagram “Americans for Indian Opportunity (AIO) deeply regrets its participation in the Dior campaign.”
While I can point out some issues I have with the ad (where does Johnny Depp plug in his electric guitar on top of a mesa, why the Inukshuk, and why is there a Plains dancer in the Southwest?), the mob ready to lynch Dior was out of proportion to any offence the advert may have inadvertently created. Knee-jerk reactions to anything that smacks of cultural appropriation are leading to a world where everything is so culturally segregated that there will be public shaming unless only the rehashing of established boundaries are pursued by anybody judged to be of European descent. As writer Vanessa Friedman of the New York Times points out, that for Dior: “…it doesn’t encourage any kind of cross-cultural fertilization or civil debate. When you get mocked for claiming you tried, why try at all? And if you don’t try at all, where does that leave us? Endlessly plowing the same New Look furrow…”
What this will do is make producers of adverts, television shows, and films, avoid referring to, showing, or hiring anyone Native for any production. It’s not worth the trouble.
You have probably never heard of the label Bstroy, and hopefully you will never hear of them again after their extraordinarily offensive spring 2020 men’s collection of hoodies with holes, simulating bullet holes. What is profoundly obscene about this collection is that the hoodies bear the names of schools devastated by mass shootings: Sandy Hook, Virginia Tech, Marjory Stoneman Douglas, and Columbine.
Social media feedback was swift and blunt, with many comments coming from survivors and family members of victims of these shootings. One student at Stoneman Douglas texted “My dead classmates should not be a fucking fashion statement.”
Bstroy responded in a post that said the hoodies were to point out how unpredictable, and painfully ironic life can be.