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@conart

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CONART™️ we don't die we can't spell "mulityply"

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🌗// 2016.10.23
・@conart.tokyo
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#conart #surkucafe #l4l

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@resek_litco recalls early #graffiti #streetwear with XPRES at CONART Studios. FULL EPISODE OUT NOW!
• 🔗 LINK IN BIO •

#youtube #spotify #applepodcasts

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appreciation post

90s/y2k hiphop / street wear / graffiti / life
To all the artist, writers, designers, brands, the shops that carried them and the homies that lived this. Thank you for your contributions 🙏 . @slackersteve @timebombshop 🙏 🫡

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👻

#tiganz
#larp
#vintage
#clothing
#uwu

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Back on sale on the new @conart online shop @slash fine art print. Link in my story 🎩🤘🏻🎸

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@skkinjebranjouni #necklace#walletchain #925silverjewelry #royalcobra#darkfashionphoto

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BOMBER MEGAZINE - VOLUME 4, ISSUE 5 - MAY/JUNE 1993

4 color pages.

In 1993, that was worth putting on the cover.

Bomber Megazine, with an e, came out of Tilburg, the Netherlands, created by Bomber Johan, Johan Zelissen.

The project goes back to 1987, with Issue 0 appearing in 1989. Before the printed magazine arrived in 1992, roughly 25 black-and-white Xerox issues had already circulated.

So by 1993, color wasn’t decoration.

It was the upgrade.

And Bomber used it.

The spread is dominated by a monster MODE2 and ZEBSTER wall, surrounded by European steel and walls packed edge to edge. Look closely and you catch the “King of Swing” SENTO wall.

The cover promises:

4 color pages. Loads of trains. 3 interviews. News & Facts. Graffhoppin.

Sounds almost modest now.

It wasn’t.

Color was expensive.

Bomber had gone from Xerox copies to a magazine where color could finally carry the work the way it deserved.

And then there’s the line:

“BOMBER - THE DRIVE BY OF THE SILENT THUNDER.”

Still hits.

#TheAerosolArchive #BomberMegazine #BomberJohan #MODE2 #ZEBSTER #SENTO #BATES #CONART #GraffitiMagazine #GraffitiHistory #TrainGraffiti

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Streetwear began as a niche movement built around music, art, sneakers, skateboarding and DIY culture, a way for communities to express themselves outside mainstream fashion.

From New York’s hip-hop influence, Los Angeles’ skate and surf culture to Harajuku’s DIY, motorcycle culture and punk aesthetic, each scene developed its own identity while sharing the same rebellious spirit.

Pioneers like Stüssy, Freshjive, FUCT, X-Large, Triple 5 Soul, Mecca and FUBU helped shape the foundation of modern streetwear. Japanese enthusiasts then reinterpreted American influences, taking the culture in a new direction.

Then came the term “Hypebeast,” and the conversation shifted. But streetwear was never meant to be a label. Those who were part of the culture simply knew who was part of it. There were no categories, no rulebooks and no need for validation. It was about belonging to a community and understanding the culture from within.

For people like @bobbyhundreds , co-founder of The Hundreds, community has always been at the heart of the culture. His work has demonstrated that streetwear is not simply about products; it is about building a community around a shared culture, history and set of values. Real, raw and connected to the people who helped shape it.

Over time, streetwear evolved from oversized fits and skatewear to terrace-inspired styles and luxury silhouettes. Today, its influence is everywhere, even on the runway.

Some may agree with where streetwear has ended up. Others may argue that its original spirit has been diluted. But perhaps that is the nature of culture, it grows, changes and reaches people far beyond its original circle.

The real question remains: has streetwear lost some of its original essence, or is evolution simply part of the culture?

📷: X-Large, Business Of Fashion, Vernon Proper, Spectacle Culture, Gwarizm, Rediit, Unknown Sources.

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@skkinjebranjouni #necklace #925silverjewelry #handmade #conart

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Jj +ash = Yokohama

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