At best, Daffy Duck in dreads was fine for its time, but even as ephemera, it's a cogent example of black culture's unrivaled ability to innovate. The combinations are often surreal, but that's the brilliance of it: The production company behind Tex Coon certainly devalued African-Americans-and yet. Liehr noted that, "Of all the shirts aimed at blacks, I rare saw black people in the involved in making them." Even Springfield wasn't detached from the idea of debasing a culture by replicating and synthesizing what it holds dear.īart's character-defining rebelliousness, in a sense, relates to black youth against a society that still doesn't really know how to accept them-Black Bart in a high-top fade symbolically closes that culture gap.
In the academic paper, "Black Bart' Simpson: Appropriation and Revitalization in Commodity Culture," graphic artist noted that J.T. In the '90s, Black Bart- The Simpsons' Bart, but black-was a popular T-shirt design amongst black consumers, but there was still that anxiety about who was outfitting Bart with Air Jordans. The urbanizing of Looney Tunes isn't a new concept, and neither are the cultural dilemmas surrounding it. Jeremy Scott's fall/winter 2015 Moschino line famously showcased the characters jeweled-up on sweaters as a homage to the "cheesiest moments in marketing history." More recently, Bugs Bunny also made another appearance in Bobby Ashley's fall 2018 collection. Still, Looney Tunes remain a sartorial inspiration. Lot 29 was no different-seeing a stranger in a Sylvester the Cat hoodies in 2018 can be concerning. Neither FUBU, SouthPole, or Enyce (or Phat Farm, Sean John, Rocawear…) would maintain their relevance going into the next decade. "They understood they didn't speak that language, and they understood they needed to find someone who could speak both languages."
Because they're just monetizing our energy," Pabon says. "How crazy is it for a truly conservative Korean company to jump into black culture? All the companies that are embedded in the culture do it, and they're considered culture vultures. As Southpole/Lot 29's general manager of marketing and advertising, he got to work negotiating deals with celebrities and hip-hop/R&B stars of the moment, notably Juelz Santana and Keyshia Cole. To help with their brand's appeal, they brought in Phillip Pabon, who had already proven himself as FUBU's VP of marketing and advertising.
Southpole was already an established brand, but they were outsiders in the urban space compared to black-owned competitors FUBU and Mecca. Although popular in retrospect, at the time Lot 29 was something of an underdog: The parent company was owned by Korean brothers David and Kenny Khym.
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