A Decade of Style: Great Moments in Complex Culture, Fashion & Design

Revisit some revolutionary ideas, products, and events that defined 2002 to 2011.

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Complex Original

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This feature appears in Complex's 10th Anniversary Issue (April/May 2012).

In March 2002, there was no Facebook, George W. Bush was president of the United States, Linkin Park ruled the radio, and Complex magazine didn’t exist. Those were dark, dark days for the galaxy, dark days indeed.

Then, in April 2002, the first issue of Complex hit newsstands, and shit changed. In the years since, we’ve been on the cutting edge of many trends—some that lasted and a few that didn’t. Looking back never gets old, so we’ve assembled the greatest moments in culture, fashion, and design from the past decade. From the rise of streetwear, to the emergence of menswear on the streets, these are the styles that define our time.

2002: In The Beginning

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When we did the Supreme x Nike SB Dunks, sneakers were not such a big deal. Dunks had just been re-released. In Downtown New York, they were one of the coolest sneakers out. We just tried to make a unique version our friends would want to wear. —James Jebbia, Supreme

NIKE SB x SUPREME DUNKS
The collaboration that started the craze.

It was just a decade ago, but the sneaker landscape was much different when legendary NYC skate shop Supreme released its first collaboration with Nike SB. The Dunk wasn’t ubiquitous yet, Nike SB as a whole was still somewhat on the fringe (remember the URL and the Ecue?), and Jordan Brand had yet to plaster its iconic elephant print all over any and every shoe in the line.

The Supremes, released in a traditional orange-and-tan Nike box, sold for barely more than the cost of any signature sneaker at the time. As for the release date, either you knew or you didn’t. Production run? Not big. Chances of getting your hands on a pair? Depends when you went to Supreme—and who you knew there. (Unless you were lucky enough to come up on a wear-test pair at the Buffalo Exchange in Portland.)

The shoes were eminently wearable, and most buyers did just that—meanwhile the secondary market was already popping off. It was a tribute shoe done in the perfect way, for the purest of reasons. The ensuing onslaught of SB collabos and all-elephant-everything may have diluted the OG Supreme’s story, but this is where it all began.
—Russ Bengtson

XBOX
Gaming enters the Internet Age.

When Microsoft discovered consoles were drawing users away from PC gaming, it—in usual Microsoft fashion—decided to enter the market. However, unlike most late-entry products from Microsoft (how’s that Zune doing?), the Xbox killed. Despite going up against industry heavyweights like Sega, Nintendo, and Sony, Microsoft notched a solid foothold in the U.S. and Europe thanks to a strong crop of launch games like Halo. In late 2002, Microsoft unleashed the real game-changer: Xbox Live, a service that allowed gamers to play against each other online, which truly brought gaming into the Internet age. Soon you could download old-school favorites like Ms. Pac-Man and Gauntlet, reeling in trash-talking teenagers and wistful thirty-somethings alike.
—Damien Scott

MAYBACH
The life of the Super-Luxury car brand.

2002: Daimler revives the Maybach name with the twin-turbo 5.5L V12-powered Maybach 57 and 62, starting around $325,000. It projects to sell 2,000 vehicles annually.

2003: Daimler sells 166 Maybachs. Not a good sign. But Jay-Z’s music video for the song “Dirt Off Your Shoulder” features Young Hov rapping from the back of a 62, introducing the chauffeur-driven vehicle to the rap world.

2008: Rick Ross founds Maybach Music Group, borrowing the super-luxury brand name and logo for his own label. Maybach either doesn’t care, or doesn’t have the means to sue.

2010: Maybach sells 63 cars.

2011: Daimler announces that Maybach will cease production in 2013. Kanye West and Jay-Z add insult to the brand’s demise by dismantling a 57 and joyriding it roofless and doorless with a backseat full of models in the music video for “Otis.”

Total sales of the Maybach line, from 2002 to 2010: 1,112 units

2003: What's Up, Cool Guy?

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“In 2003, we founded The Hundreds as a response to the exclusive attitude of Streetwear at the time. Our mission was to open the window between Streetwear kids and Streetwear creators. no smoke and mirrors. The followers loved us for it. The leaders hated us. We didn’t really care, we figured if the people wanted it, it’d work.” — Bobby Hundreds, The Hundreds

PABST BLUE RIBBON
How one cheap domestic beer defined a cultural movement.

Williamsburg, Brooklyn. Circa 2003. From happy hour to last call, almost every bar within skateboarding distance of Bedford Avenue is serving Pabst Blue Ribbon faster than the beers can be chilled. It’s happening on the Lower East Side, too. And in Philly, and in Portland. San Francisco. Austin. Everywhere.

Pabst has been around for more than 150 years, but for some reason it became the go-to domestic lager for the cool kids. Why? Not because it tasted great.

It blew up because it was cheap and because the lack of marketing let you fill in the blanks other, more popular American brews never allowed for. You didn’t watch your dad drink a case of this during the game. Until recently, you didn’t see anyone drink Pabst at all. But then, for some reason, the brewing company saw unexpected sales growth in 2002. And by 2003, just as The Hipster Handbook was rolling off the presses, PBR was everywhere. The cans are colored like the American flag, and the words written on the aluminum rep Milwaukee, a long way from anything cool. And maybe that was it.

In a year when geeking out over a new Vans collab, a new mixtape, or skate video while slugging cheap beer was preferable to the pinky-up snobbery of craft breweries, Pabst signaled a movement. If the PBR resurgence wasn’t an ironic pose, it was at least a reactionary one. It was a moment when the consumer decided what was cool.

The brewery didn’t know what to do with this newfound popularity, but unlike a lot of other major companies, it didn’t fuck around with it, not really. It stood back and let all the young guys (and girls) work it out. Pabst kept its finger on the pulse by keeping its hands in its own pockets. Weird, right? But it worked. And everyone still drinks it. —Ross Scarano

BAPE x ADIDAS SUPERSTAR
A legend and an upstart make an iconic collaboration.

BAPE was never a shoe brand, but it was a brand that made shoes. Its brightly colored patent leather BAPE STA Air Force 1, uh, “tributes” had sneakerheads hunting for Japan connects while Nike focused on churning out countless white-on-whites. Meanwhile, BAPE’s camo prints and ape-head designs kept label head Nigo rolling in Bentleys and Lambos. When it came time to do a true collabo, the super-limited 2003 BAPE x adidas Originals Superstar 80s brought adidas to another level with the hypebeasts, and introduced BAPE to a whole new crowd of sneaker freaks.
—Russ Bengtson 

2004: A Scene Is Born

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“I expect to appeal to all kinds of different people. It’s not a Ralph Lauren consumer, or a couture consumer. It’s not an American; it’s not a European. It’s a collection of people who want to celebrate individuality.”
—Pharrell Williams on the Launch of Billionaire Boys Club, Complex August/September 2004


A BATHING APE
Japan sets the pace for American streetwear.

In the here-today-gone-tomorrow arena of streetwear there’s never been a label more iconic than A Bathing Ape. Founded in 1993 by design visionary Nigo, the Japanese brand has survived the test of time, and continues to do things its own way.

Exclusive distribution, celebrity co-signs (fans include everyone from Kanye and Pharrell, to Lil Wayne and Pusha T), and innovative designs like the ape head allover-print camo motif, have made the company hype culture’s signature brand.

When BAPE opened its doors in SoHo in 2004, kids of all different backgrounds lined up for blocks. Thanks to BAPE’s first stateside store, the downtown New York shopping scene got a major shot in the ass.

Now boasting more than 30 stores worldwide, BAPE still earns new fans daily, which is a testament to the brand’s knack for masterfully revisiting classic pieces and reinventing itself season after season. Don’t expect it to go anywhere—10 years from now BAPE will still be on top. —Joe La Puma


KUBRICK
Collectibles made for cool guys.

The craze for collectible toys and Japanese street fashion reached a fever pitch in 2004. The simple construction (the toy consists of just nine pieces), and easy customization made Kubrick toys some of the most sought after items in street culture. Additionally, they proved the perfect platform for trendsetting artists to apply their vision. KAWS, Futura, and Stash all put their spin on the Kubrick Bearbrick. And the rollouts haven’t stopped since. —Nick Schonberger

DISRUPTIVE PATTERN MATERIAL: AN ENCYCLOPEDIA OF CAMOUFLAGE
Camo geeks get a holy grail.

By the 2000s, camouflage had progressed from appropriated military wares to fully redefined patterns and never-before-considered colors. BAPE clad its fans in a pink PANZER 1 camo, while maharishi’s 2001 collaboration with Futura realized a street-art-driven black-and-white pattern. Lucky for fans, maharishi founder Hardy Blechman shared his fanaticism in 2004, releasing Disruptive Pattern Material. In 944 pages, DPM distilled the complete history of camo pattern, from military to civilian culture. The book is a style bible that’s an essential for any streetwear fiend’s library.
—Nick Schonberger 

2005: Streetwear Goes Ballistic

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“The reason these created such a stir was because everyone loves the Jordan IV, and this is the one and only collaboration Jordan brand has ever done. That, and the colorway and materials are timeless. It’s simply one of the best Jordan bodies of all time. Sometimes I still can’t believe they did this for me.” 
— Eddie Cruz, UNDFTD


UNDFTD AIR JORDAN IV

The one and only.

To say the UNDFTD Air Jordan IV broke new ground is misleading in a sense, because no one else has been able to fill its giant herringbone-print shoes.

The first—and to this point, only—retailer to be allowed to create its own Air Jordan, UNDFTD took inspiration from the classic MA-1 flight jacket. The resulting sneaker was an olive drab banger with bright orange accents and airbag, and a Velcroed “Flight” patch on the tongue concealing subtle UNDFTD branding underneath. UNDFTD branding also appeared on the inside tongue tags, and the accompanying Incase nylon case.

Just 72 pairs were made available through a lottery system that required the purchase of a t-shirt to enter. The ensuing years have done nothing to diminish the impact or the importance of the UNDFTD Air Jordan IV. The style inspired the “Army Olive/Orange” Air Jordan V that was released a year later, but due to its scarcity, the UNDFTD IV remains many a Jordanhead’s holy grail. In fact, Complex named it the top sneaker of the 2000s. Got a problem with that? —Russ Bengtson

THE YEAR OF EXCESS
Pre-recession times meant lots of big spending.

BLING: In 2005, the world met Gucci Mane via his song “Icy.” The first words? “Where your bling at?” The assumption was that anyone listening to the Atlanta rapper’s debut had some, or wanted some. And Jeezy’s iconic snowman chain? The “house” around his neck? This was the year when the recession was just a glimmer in each diamond on every rapper’s chain.

BOTTLE SERVICE: The rise of super-premium vodkas like Grey Goose wouldn’t have been possible without knucklehead dot-commers flaunting their new scratch at the biggest clubs. Thus, bottle service reached a blustery peak around ’05. It was unheard of just a decade earlier, but you could now put down $400 for a bottle that retailed for a tenth of that. Because you had to let them know: You had a table, and you paid too much money for it.

SUVS: There’s excess, and there’s stupidity. In 2005, Hummer gave the world the H2 SUT, a regular (which is to say, ridiculous) H2 with a slight pickup bed—for extra hauling. Plunk down $51,995 for a vehicle that did around 10 miles per gallon, and start transporting...what, exactly? Maybe getting more people to the club to take better advantage of the bottle service? Hummer can’t say—it ceased production in 2010.

2006: Streetwear Evolves

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“I never thought that the same kids wearing Huf, Supreme, and the Hundreds would end up wanting chambray shirts and raw Japanese denim. then A mass exodus from streetwear came directly our way. Kids went from Nikes and skate-brand jeans to boots and Japanese denim. It slowly spread through the country as streetwear turned into menswear, and teens grew into their 20s.” — Kiya Babzani, Self Edge


RISE OF THE DENIM CONNOISSEUR

A new obsession takes hold.

By 2006, the heyday of “premium” denim brands subsided, and the popular boot cut silhouette took a backseat to the slim straight leg. Raw, or unwashed, denim became the new staple.

Fascinated by the idea of personalization and quality, sneakerheads quickly adopted brands like A.P.C. and Nudie, cuffing their hems to show off the red selvedge lines over their freshest kicks. Initially rigid, the jeans were meant to mold to your body over time, creating distinctive patterns of fades with each wear. The idea was to wear these jeans for years, often until they fell apart, and then cop a new pair and start the cycle over.

As newfangled denimheads became more obsessed, Japanese brands such as Samurai, Iron Heart, and Skull gained a following in America. Specialty denim shops like Blue in Green in New York and Self Edge in San Francisco opened. Soon brands like Gap and Uniqlo were slinging raw selvedge jeans, and the interest in artisan-crafted denim drew many away from sneakers and streetwear to boots and a more tailored look.

The old standby, fitted caps, became streetwear’s stronghold. In 2006, New Era opened a flagship store in NYC, and released an onslaught of collabs and previously unseen colorways. It was bigger than Jay-Z. A New Era fitted and a pair of crisp denim was the uniform for cool guys everywhere. —Jian DeLeon

SOCIAL STUDIES
A brief history of social media.

MYSPACE: At age 9, MySpace is a social media dinosaur. The site had more than 100 million global users at its peak, then Facebook stepped in and MySpace users dropped like flies. So did the company’s value—estimated at $12 billion in 2007, then sold to Specific Media in 2011 for $35 million. If it wasn’t for indie rock, MySpace wouldn’t be here today.

FACEBOOK: Mark Zuckerberg’s billion-dollar baby has shown no signs of slowing growth since its launch at Harvard in 2004. With Over 800 million registered users—including your grandma—2.7 billion likes and comments are made on any given day. Now traded publicly, Facebook’s speculated market value is nearly $100 billion.

TWITTER: Launched in 2006, this microblogging platform allowed celebs to speak their mind, sometimes with embarrassing results. There are now over 500 million registered users and over 200 million tweets per day. The company’s current value: $8.4 billion. Watching Kanye West go H.A.M. on a late night twitter rant: priceless.

2007: Time For A Change

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“People say you’re supposed to dress for the occasion. What I always say is dress like you’re coming from somewhere and you got someplace to go. You’ll probably be a little bit more yourself.”
—Kanye West, Complex, August/September 2007


G-SHOCK

The emergence of streetwear's paramount timepiece.

They’ve been around since 1983, but a couple decades passed before these tactical timepieces became streetwear staples. Originally designed for action sports and the military, G-Shock watches have become the go-to timepiece for people who would never wear one while riding a bike, much less while fighting.

G-Shock collaborations with BAPE and Stüssy first came out in the late nineties, but they didn’t reach streetwear prominence until the video for “Stronger” dropped in 2007, featuring Kanye West rocking the white G-Shock and shutter shades. A couple months later, Yeezy graced the August/September 2007 cover of Complex strapped with a pink BAPE x G-Shock DW6900. By that time Kanye was well established as the fashion-forward rapper of the moment and the brightly colored shock-resistant watches reached craze status.

Many of the trends Kanye turned mainstream have come and gone (foxtails, the afro-mullet, those shutter shades), but G-Shock is here to stay. —Noah Johnson

KANYE WEST OUTSELLS 50 CENT
Record sales lead to a momentous shift in style and culture.

It’s easy to take the current hip-hop climate for granted. With a parade of rappers from all locales unabashedly rocking formfitting clothes, shoes with teddy bears stitched onto the tongue, and leopard-print jeggings, it’s difficult to envision a time in rap when artistic and sartorial freedom wasn’t the norm.

But alas, kids, that time was only five years ago. Before Kanye West broke onto the scene in 2004 with his watershed debut, The College Dropout, there was an archetype of what a popular rapper was supposed to be: street, brash, and decked out in baggy hood-approved apparel. In other words: 50 Cent.

In 2007, both rappers were set to drop their third album. 50 Cent was fresh off his sophomore effort, which though commercially successful, didn’t live up to the quality of his debut. Kanye, on the other hand, was gaining steam with each release. ’Ye moved up Graduation’s release date to September 11, the same day 50 planned to release Curtis. It was David vs. Goliath. Suburb vs. Street. Slim-fit vs. Loose-fit. Tailored vs. Off-the-rack. Kanye outsold 50 by 300,000 records to take the No. 1 spot. The symbolic victory paved the way for artists who didn’t sling drugs, like Drake and Kid Cudi, and artists who didn’t wear what everyone else in their hood was rocking, like A$AP Rocky. Who knows where we’ll be five years from now. —Damien Scott

IPHONE
Magical. Miraculous. Revolutionary.

History can be divided into two eras: before iPhone and after iPhone.

Apple’s touch-screen device was late to the smartphone party. Before 2007, BlackBerry was doing well with its QWERTY-clad handsets, Palm was pushing plenty of Pilots, and T-Mobile had the youth locked with the Sidekick. But before the iPhone, the idea of using your phone as a portable computer was laughable. Sure, you could check and respond to email, peck out a note, and even browse a few websites, but the experience wasn’t the same. The iPhone put the real Internet—not mobile web—in your pocket. It packed the best media player Apple’s ever created and users were able to install apps on their phone the same way they did on their computer. These apps expanded the breadth of the iPhone’s functionality and created a billion dollar industry in its wake. Every smartphone maker followed suit.

No mobile phone platform has been able to create a user experience as easy and enjoyable as the iPhone’s. Like Apple said of its iMac over two decades ago, “everything just works.” Even if you’re #TeamAndroid, #TeamBlackBerry, or #TeamWindowsPhone, you owe a debt of gratitude to Apple. Without the iPhone, there would be no post-PC era. And no Temple Run. Imagine that. Damien Scott

2008: Going (For) Broke

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“When I first saw a fixed gear bike I had no idea what it was. I now see young kids ride them to my store, and older business people use them as their daily commuter bikes. The bikes have infiltrated mainstream culture and it’s good to see more people excited about them.” —Benny Gold, Designer


FIXED GEAR BIKES

The two-wheeler that became a style essential.

The subcultural obsession with fixed gear bikes can be traced to bike messengers. In cities like San Francisco and New York, couriers pared down their rides to one gear, fixed to the rear wheel, with no brakes. These bare bones bikes were simple, affordable, and fast. The ultimate urban assault vehicle, it combined the rebellious nature of skateboarding and BMX with the childhood joy of barreling down the street on your first Huffy.

The easy maintenance and near-endless customization options meant any urban-minded “individual” could appropriate the rig. Narrow handlebars, leather saddles, flashy rims, top-tube protectors, clipless pedals—all surefire ways to spot a cool guy’s fixie. They became staples in skate and sneaker boutiques, from Dave’s Quality Meat in New York to HUF in San Francisco. Inspired by track racing, messengers and die-hard cyclists competed in “alleycat” races. Along with slim raw denim jeans and classic Vans, fixies were a quintessential element of downtown cred.

As with anything cool people think is cool, mass retailers caught on. Every bike brand from Giant to Bianchi started producing single-speed road bikes. Then mass retailers such as Urban Outfitters, who partnered with Republic Bikes, offered factory-fresh fixies for as little as $400, so everyone and their art-school girlfriend could ride one. 
—Jian DeLeon

GOT IT FOR CHEAP
Recession-friendly retailers stepped up when times were tough.

H&M: The Swedish retailer’s combination of fashion-forward clothing and insanely affordable prices meant dudes had access to everything from suits, sportswear, hoodies, and shoes at low prices. It was easy to cop a whole new ’fit for a night out, and one for the morning after—if you didn’t end up at home.

AMERICAN APPAREL: Adopting a logo-less aesthetic and a sleazy-chic advertising campaign, the brainchild of Dov Charney caught on with fixie-riding hipsters and angsty suburban kids alike. Their deep v-necks were associated with a certain kind of douche bag, while their comfortable hoodies struck a chord with average guys.

UNIQLO: Merging utilitarian design with modern fits, Uniqlo captured the zeitgeist of New York’s diverse style. Guys could rack up on an array of affordable, unbranded outerwear, pants, button downs, T-shirts, and knits. Deals on basics like underwear, socks, and tees kept dudes coming back for more.

2009: Built To Last

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“The popularity of ‘Americana’ clothing and brands arose from the convergence of a few different movements. Part of this was a knee-jerk away from anything related to the ‘metrosexual’ trend. Another factor was the terrible economic situation that made people take refuge in the tried and true, the rugged and tough. Finally, work wear was trending and becoming popular. All of these factors came together to push something from a niche look into the mainstream.” —Michael Williams, A Continuous Lean


THE NEW UNIFORM

Made in America becomes more than a business model.

In 2009, with an economic recession in full effect, men’s style moved forward by looking back. American-made brands were touted by bloggers who spurred other men to “buy less, but buy better.” Sure, U.S.-produced goods were pricier, but the notion of patriotism via commerce, combined with the idea of paying more for a quality product, resonated with the average guy looking to step up his style game.

Streetwear fans soon took notice, and traded in their A.P.C. jeans and Nike sneakers for Levi’s 501s and Red Wing boots. Manufacturers like Gitman, Horween, Vibram, and Cone Mills gained fashion cred overnight. Northeastern shoe companies like Alden and Quoddy that had been churning out the same product for years were enlisted to make special versions for small brands like 3Sixteen and retailers like J. Crew.

Filson briefcases and luggage became the de facto accessory for the modern Americana enthusiast, and as dudes racked up on domestically produced denim and flannel, they also let their beards grow out. Guys began to channel Paul Bunyan more than Paul Newman as the “urban lumberjack” look gained prominence.

Americana-inspired cult brands such as Engineered Garments, Woolrich Woolen Mills, and Mark McNairy were sought out by fashionable insiders and rappers like Drake. The Made in America label became a membership badge for cool guys. Hype and limited runs were replaced by authenticity and “investment pieces.” Many of the products were built to last, but critics insist the trend isn’t. Time will tell. —Jian DeLeon

NIKE AIR YEEZY
Kanye gets a signature shoe.

Prior to 2009, Nike only designed products for athletes. That was the way it defined itself since its early days as Blue Ribbon Sports. That’s why the Kanye West-designed Air Yeezy was so significant. Before the Yeezy, Nike had never made a signature shoe for a non-athlete. Considering how fast they disappeared from shelves, Nike made the correct decision. Again. Russ Bengtson


2010: America, Eff Yeah!

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“American muscle cars were the ‘super cars’ of their Times. they die hard, and they’ve always been wild easy to customize and repair, as opposed to sending a Ferrari off for a zillion dollar oil change. The return of the older body styles is the greatest wave in car culture today.”
—Curren$y, Rapper, American car enthusiast


THE NEW FORD MUSTANG

Detroit goes retro and gets a new life.

In 2008, the recession hit the auto industry hard, killing Hummer, Mercury, Pontiac, Saab, and Saturn, and nearly doing in many others. The big three—Ford, GM, and Chrysler—survived, but in degenerated form. GM owned more brands than it knew what to do with. Chrysler was a punch line. And Ford was producing watered-down versions of its European competitors.

Whatever doesn’t force you to liquidate your assets only makes you stronger. In August 2010, the 2011 Mustang hit dealerships with state-of-the-art engines that brought new levels of performance to the iconic pony. The V6 was the first 30/300 car: 30 mpg and 300 horses. More impressively, the GT could keep up with a BMW M3 on a track. This new Mustang spawned brilliant variants, like the refined Boss 302 and the first aluminum block GT500, which made the supercharged monster way easier to handle.

By reintroducing an old favorite, Ford proved it was back, and so was Detroit. The Mustang’s retro styling lead to the resurrection of other classics, like the Chevy Camaro and the Dodge Challenger. Another Dodge, the Dart—along with the Ford Fusion and the Chevy Spark—were cost-conscious responses to the recession. But the Mustang represented the new way of thinking that saved the U.S. auto industry (along with a heaping helping of Obama-approved bailout money): bigger, bolder, and with an eye toward an iconic past. —Stirling Matheson

BOAT SHOES
Sneakers take a step back for a classic silhouette.

Boat shoes have always been a preppy staple, but in 2008 they returned in a big way. Seen on indie rockers like Vampire Weekend and hip-hop mainstays like Pharrell Williams, the nautical-inspired kicks were a key element in the resurgence of collegiate-inspired style. The comfortable, versatile footwear could be worn with shorts, slim jeans, and colorful chinos. Throw in collaborations like Band of Outsiders x Sperry Top-Sider and Ronnie Fieg x Sebago, and their cross-cultural appeal is even more evident.
—Jian DeLeon

THE APPLE IPAD
Steve Jobs wins again.

Not just an over-sized iPhone, the iPad was another game-changer. Apple transformed an ailing market segment and signalled that Steve Jobs and Co. would be heavy-hitters in the post-PC era. The 9.7-inch tablet also established Apple’s reputation as a company that had its finger firmly on the pulse of the culture. When other tech companies were pushing underpowered netbooks, Apple released a gorgeous touch-screen slab that gave people a new way to consume and interact with their content. —Damien Scott

2011: This Just Happened

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“The true significance of ‘Art In The Streets’ was greater than the actual show. Above and beyond any individual’s work, the exhibition heralded the value and importance of the graffiti ‘movement’ in an unprecedented way, leaving a permanent imprint on art history that we will continue to evolve from for years to come.” —Eric HAZE, Artist


ART IN THE STREETS
Street art has its coming-out party.

Calling Art in the Streets a blockbuster exhibition is something of an understatement. Yes, it drew record crowds to the Museum of Contemporary Art in Los Angeles (the exhibition ran from April 17 to August 8). But it was also tailor-made for blog-fueled hype, extending the force of the installation well beyond the eyes that caught it in person.

Curated by Jeffrey Deitch—recently named MoCA’s director after years as a pioneering gallery owner in New York City—and graffiti historian Roger Gastman, Art in the Streets offered a comprehensive look at the global rise of graffiti and the international scene the New York­–born urban art form spawned. It documented the emergence of legends like ESPO, HAZE, and KAWS from the Big Apple, followed by new faces such as FAILE and SWOON. BANKSY and JR came from Europe, and San Francisco contributed Barry McGee, who moved from the streets to the galleries. San Paulo’s Os Gemeos pioneered a new breed of graffiti in Brazil, helping to round out the international scope of street art.

All of these figures played a role in Art in the Streets. Their artistic passion and unique aesthetic also forged unprecedented museum and brand collaborations with Levi’s and Nike. This propelled the exhibition beyond the blockbuster and into a cultural phenomenon that outlived the run of the show. —Nick Schonberger

SNAPBACK BACK
The resurgence of a streetwear staple.

Snapbacks weren’t invented in 2011, but that was when they reached a new level of prominence in the streetwear world. Beyond Tyga and Chris Brown’s “Snapback Back” song, streetwear brands like Stüssy, Supreme, and HUF had all dropped myriad interpretations of the cap. Often emblazoned with antiquated logos of NBA and NFL teams, the throwback game was dominated by Mitchell & Ness, who garnered even more street cred when Don C. remixed the snapbacks with genuine snakeskin, which became an instant hit with Kanye West, Jay-Z, and others.

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