Retro Streetwear

War is on the mouth of everyone now a days so i thought design a war based model. I have chosen to make it a little bit retro and used some World War Two images of faceless soldiers. I love the result so i have some variations of this model in terms of colors and the basic design. Hope you like it.
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Here is one of the most basic designs that i have created and one of my favourites. It's a emergency phone sign with the word SOS underneath. It's is very basic but i think i looks great special on the green military t-shirt with the yellow version of the design. Hope you like it.
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Hi,
This next model is a Tested one. It has a cool brown and yellow colours that i think work great giving it a retro look to this logo. The models that i favour are the colour t-shirts, mostly the ones that i show in the picture. I have made this model based on a graphic that i found on the net. I can say that from the posted ones this is my favourite.
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This streetwear design was based on a vintage ad that i have came across. It says that the fastest way to lose fat is to run, a simple truth that very few people seem to realized. I have put it in to a simple rectangle with two colors that i think work great. I have inserted too a crown to give it a more vintage look to it. Hope you like it.
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This design was based on some lettering ideas from my brother who was the actual designer. I encounter this lettering in a leaflet of a disco advertising in a near by home coffee shop. We had to remake the letters and i had then the idea of inserting the lollipop element to give it a little bit more of a retro look onto it. I personally love the look beside the fact that i have to think in the different audiences of my apparel. I have bought it myself, on a classic T-Shirty model and to the date some people have notices and talk about it making me proud of course. Beside that, the credits are from my brother, a great designer has you will all have the opportunity to see it in the following designs.
This Design is Available Here

STREETWEAR - A BRIEF HISTORY
Tracing the lineage of today's streetwear inevitably leads you to Shawn Stussy's story. Stussy, a local cult surfboard shaper in Laguna Beach, California, in 1980 transferred his signature logo from surfboards to T-shirts. Skaters quickly picked up on the brand, and the resurgence of skateboarding throughout the '80s helped propel Stussy into a worldwide phenomenon. Stussy became an inspiration for a generation of creatives, and one of the first to gain recognition in the mainstream without losing underground appeal.

Sung Choi, Clae Footwear

Sung Choi, an industry veteran who worked with PNB and DC Shoes, remembers, "Seeing Stussy shirts in the late '80s inspired PNB. It was like, if this surfer dude out in Cali is speaking on his lifestyle, why can't we speak about ours?" In addition to that sentiment, Choi recalls, "People of color had no voice in any media at that time. The emergence of hip-hop [enabled us] to use fashion to speak visually about our experience." In the '80s and '90s, hip-hop became a global language for youth swagger, with NYC street culture as the prism for urban youth rebellion. "Hawaii" Mike Salman, sneaker culture pioneer and publisher of LTD magazine, remembers growing up in SF: "I was in 6th grade b-boying and wanted to dress the part-fat laces, sweatsuits, sneakers, bootleg Fila, Gucci, and Louis Vuitton-I wanted to look good while spinning on my head." Hip-hop's foundation, built on sampling, storytelling, cultural references, and competitive attitude, encouraged an entire generation to express themselves.

Minya Quirk, BPMW

"People of my generation sparked creativity out of necessity," relates Minya Quirk, a founder of the NYC fashion PR house Brand Pimps and Media Whores. She comments on the time before youth-targeted brands: "We weren't being marketed to, we were shopping at stores alongside mom, mixing it up and turning things into our own." And the limited access to what few early streetwear products existed fueled natural competition. Salman, remembers, "I always bought two pairs of sneakers, wore one and put the other one on ice. It was about what I liked and getting it first. It was the same thing [as] in the music business: who had the advanced albums before anyone else?"
This collector-as-consumer mentality was a natural fit for Japan's obsessive culture, and, by the '80s, the youth market there had an insatiable appetite for all things American, with surf/skate brands like Stussy and Fresh Jive leading the way. By the early '90s, Japanese youth stopped being simply consumers, and began to innovate on the themes and styles they saw coming from the US. At the time, Choi was sharing a studio with the graffiti legends Stash and Futura. He recalls, "Those original Harajuku street brands were heavily influenced by US street style, and a lot of the Japanese guys came through, whether it was Bathing Ape (BAPE) or Real Mad Hectic." That influence, combined with homegrown visionaries like Hiroshi Fujiwara shaping the ebb and flow of the youth market, led brands like Nigo's BAPE into a new type of relationship between brands and consumers. Japanese brands nurtured a cult following amongst trendsetters by focusing on limited offerings, inspired collaborations, an emphasis on backstory, and high price points atypical for the youth market.

This type of cross-pollination yielded interesting fruit. In 1988, in search of the perfect pair of vintage jeans, Japanese tailor and denim otaku Hidehiko Yamane, handcrafted his own denim using original Levi's shuttle looms and natural indigo. This Japanese improvisation and perfection of an existing American theme led Evisu and its superior denim to take over of the backsides of hip-hop celebrities in the late '90s. Then, in 2004, Nigo's strategic collaboration with American super-producer and style icon Pharrell Williams and the launch of the BAPE store in NYC marked the brick-and-mortar introduction of streetwear to the MTV crowd.

The History:
In 1965, Adidas introduced a shoe in the Stan Smith form as the top performance Adidas tennis shoe. It was originally endorsed by Robert Haillet, another Tennis Player on Adidas' books, but was renamed in 1971 after tennis great Stan Smith.
The design and form of the shoe has stayed largely the same since then, but with several new models and colourways introduced over the years.

In the year 2000, Adidas issued a modern re-design of the shoe as part of its Millennium range, aimed at the Tennis Player. This re-make, like so many modern re-interpretations of classics, wasn't anywhere bear as stylish as the original however. More on the design later.

Stan the Man:
Stan Smith was the world's No. 1 ranked tennis player in the early 1970's. During his long career, Smith won 39 singles titles and 61 doubles crowns. He was one of a long list of Tennis Players to endorse Adidas products, including Ilie Nastase and Rod Laver whose named model shoes are also currently available, and Ivan Lendl who has yet to have his shoe re-issued.

A Design Classic:
The main reason behind the Stan Smith's enduring popularity is its inherent stylishness and cool. The design is clean and understated, especially in its original white leather lace-up form. The Adidas branding is minimal, with the Trefoil logo on the top of the heel section and on the tongue, and the ubiquitous three stripes in the form of punched ventilation holes on the side of the shoe.

Over the years, Adidas amended the form the shoe took, introducing different coloured leather, velcro 'strap-over' models, a version with the Trefoil logo on the side in place of the stripes, and a version in nubuck. Many of these variations are available today, but the original classic design is still far and away the best.

Another reason for their enduring popularity is the fact that they are constantly available. Some Adidas re-issues are only available for a limited amount of time and at ridiculous prices, but the Stan Smith has never come off the shelves and the price has stayed reasonable. No wonder so many pairs have been sold