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But those who birthed it and keep to its original ethos should also be directly lifted up by its sudden surge in popularity both monetarily and culturally. But how do we celebrate skate style without simultaneously causing its extinction? We already have proof that skate culture doesn’t need to be niche to succeed. “I’m trying to celebrate an older style of dressing before it goes away for good,” Olson told W this year. When High-fashion brands like Vetements adapt the Thrasher flames, they charge ten times the price to the likes of Kanye West. It’s a playful back and forth, until it isn’t.
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And in January, Dior Homme’s Kris Van Assche included miniature half-pipes and skate ramps in his show. Palace Skateboards, a London-based brand founded by Lev Tanju, turned the tables by appropriating Versace and Chanel logos on their own shirts.
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It is possible, however, to remain local and loyal to skate culture without “selling out.” Look at the likes of Bianca Chandon, a unisex label founded by the professional skateboarder Alex Olson in 2014 that is now sold at Dover Street Market along with other skate brands like Dime and Alltimers. The late, great Dylan Rieder, for example, was in a DKNY advertisement with Cara Delevigne, despite having once said: “What does fashionable even mean?” Plus, skaters and fashion folk have been well-matched bedfellows in business since the beginning. Skateboarding is a billion-dollar industry, so it makes sense why fashion wants a piece of the pie. In a Fashionista article titled “How Skaters Really Feel About the Appropriation of Their Culture,” an employee at the Williamsburg skate shop KCDC said, “I think it’s flattering to skateboarding that it’s reaching other areas and other lifestyles, but it sucks if they don’t do it properly or get the right people involved.” Item number five read: “Even if the god Rihanna herself showed up to a hot horny summer date wearing a dress and white high top DCs, it’d be cause to make up an excuse to go home and cry.” Quartersnacks, a website and clothing line dedicated to “NYC skateboarding and all the people, spots, and bad decisions that help make it wonderful,” responded with their own listicle titled: “ The Shit We Learned from Vogue’s Skate Week“. Tensions between skateboarders and fashion editors finally boiled over when Vogue decided to publish a “ skate week” on their website this summer. It was this year’s merch craze combined with an increased emphasis on individuality and anti-establishment politics that ultimately culminated in Thrasher‘s newfound popularity with the fashion industry and celebrities alike. Everyone from Rihanna to Ryan Gosling has since been spotted in the magazine’s merch. But no design has hit the mainstream as hard as the flaming logo.
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Throughout the years, slogans like “Born to Skate / Skate or Die” and “Skate and Destroy” have been printed on tees and the magazine’s font can even be found on Bob Marley’s 1974 album Natty Dread. In addition to the print publication and website, which features a catalogue of skate videos, Thrasher annually names a “Skater of the Year,” beginning in 1990 with Tony Hawk. Some background on Thrasher: The magazine was founded in 1981 in San Francisco, and it echoed the unapologetic and rebellious attitude of California skaters at the time.
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Blood and scabs, does it get realer than that?” The current Thrasher editor-in-chief Jake Phelps put it more bluntly when he referred to fashion’s relationship with skate culture as being “corny as sh-t.” In an interview with Hypebeast, he continued: “We don’t send boxes to Justin Bieber or Rihanna or those f-king clowns.