![]() There’s a thread of nostalgia that weaves itself through the book’s first half (the last third is mostly pictures of look books from recent collections). All of which makes looking through the grainy photographs of shaggy-haired street kids wearing baggy clothes and doing skate tricks a bit wistful but not sentimental. It’s safe to say that Supreme and its designer are no longer underground - they’re part of a mainstream they helped create. ![]() (In his acceptance speech, he said, “I’ve never considered Supreme to be a fashion company or myself a designer.”) The brand’s famous stealth is slowly eroding in recent years it’s had lengthy profiles in GQ and Vogue. Jebbia is now 56 years old and has a CFDA Award for best menswear designer under his belt. And its success and enduring relevance rely openly on tenets of community and collaboration. All of which is to say that Supreme isn’t a closed-off entity but a porous one. Supreme has collaborated with a roster of impressive names who are also represented in the book, including artist Cindy Sherman, photographer Nan Goldin and brands such as the avant-garde Comme des Garçons and the sneaker and sportswear behemoth Nike. (Perennial “It” girl and fashion plate Chloë Sevigny also shows up, of course.) There are enough buzzy names to secure Supreme as an influential arbiter of taste: photographs by Larry Clark and director Harmony Korine, the now iconic image of Kate Moss in a Supreme box logo shirt and cheetah print coat, holding a smoldering cigarette shot by Alasdair McLellan. The book makes little use of words and instead serves mostly as a visual chronicle, a nostalgia-tinged look at a subculture’s dramas playing out amid a changing city and the internet era waiting to replace these hazy pre-digital days.
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