Back in 2004 when Married To The Mob and its founder Leah McSweeney conceived its original “Supreme Bitch” for the brand’s first collection, it was a commentary within the streetwear landscape so often dominated by men. Since then, it’s become a hallmark of the brand almost 10 years later but has recently come under fire from Supreme and James Jebbia for what has been claimed as a design that “infringes his trademark rights.” The brand now faces a $10 million dollar lawsuit which will likely stir the pot of controversy as well as once again assess the current state of free speech and trademarks. Below is a note from McSweeney while the court document can be seen below.
As some of you may have heard, Supreme is suing me for $10 million over my “Supreme Bitch” design. I’ve been using this design since the first MOB collection in summer 2004. I even sold it as a tee at Union, a store owned and managed by Supreme’s founder James Jebbia, who gave the design his blessing. Now, he’s claiming that the design infringes his trademark rights.
Unlike some companies that blatantly rip-off other brand logos, Married To The Mob has always had its own identity and aesthetic by being an extension of my life experiences. I started this company when I was 22 and have come a long way without a piggyback ride from anyone.
Supreme Bitch is one design of many; one slogan of many. And the use of the design has always been to make fun of the misogynistic vibe of Supreme and the boys who wear it.
Bottom line is this: I don’t think Supreme should be able to squash free speech or my right to utilize parody in my design aesthetic. It’s one of the most powerful ways for me to comment on the boy’s club mentality that’s pervasive in the streetwear/skater world. The fact that Supreme is coming after MOB and me personally is just another example of the hostility that MOB — the first women’s street wear brand — has faced from Day 1. And it’s why the Supreme Bitch message is so important.
Civil liberties attorney Norman Siegel agreed to take my case and act as co-counsel along with Edward Rosenthal of Frankfurt Kurnit Klein & Selz PC, a law firm that specializes in trademark issues. This isn’t a fight I went out looking for, but I have no choice other than to fight back. Because right now, it’s about more than just a t-shirt!
EDITORS NOTE: A recent New York Magazine article also highlighted the case with the inclusion of some further details:
In 2004, when 22-year-old Leah McSweeney started a women’s skate-fashion line called Married to the Mob, her first T-shirt was a sort of homage: supreme bitch written in the Supreme (via Kruger) style. Jebbia carried the shirts in Union, another store he owned. As Supreme’s fortunes multiplied, so did Supreme Bitch. Rihanna posted pictures of herself in a Supreme Bitch cap. Karmaloop and Urban Outfitters have sold Supreme Bitch items. In January, McSweeney took what would be a normal step for an upstart clothing label: She filed a trademark application for Supreme Bitch. Two months later, Supreme sued McSweeney for $10 million and demanded she remove the offending items from retailers. According to Jebbia, McSweeney’s shirts aren’t just logo appropriation; they’re “trying to build her whole brand by piggybacking off Supreme.” Though he does remember approving the original Supreme Bitch designs, at the time, “I thought it was just going to be a one-off. Now it’s on hats, T-shirts, towels, mugs, mouse pads.” McSweeney has a different take: “There’s this one Barbara Kruger piece that says, ‘Your comfort is my silence,’ and I can’t help but think that I’m being silenced by Supreme with this lawsuit. I don’t have $250,000 to litigate this case, and they know that.”
Following an eight-year journey that has seen him cross the globe, Nils Müller is set to release Vandals – his second book of graffiti-highlighting photography and a follow-up to 2009′s Blütezeit. Bearing 192 full-color pages, the publication showcases the levels of elaborate planning that go into the creation of the illegal street art and sees the carrying-out of the act as artists – in one particular example – scale barbwire fences and evade both motion detectors and security cameras to tag a string of train cars. Divided into a total of 10 chapters, the piece devotes entire sections to the likes of Paris, Milan, Seoul, Bucharest, Caracas and New York while the remaining four chapters compile imagery from a variety of locales around the world. Look for the former graffiti artist and self-taught photographer’s Vandals to be available this May while a limited edition, signed copy of the book can be acquired by sending an inquiry to info@ruttkowski68.com.
Julian, a drug-smuggler thriving in Bangkok’s criminal underworld, sees his life get even more complicated when his mother compels him to find and kill whoever is responsible for his brother’s recent death.
This new style offers a quintessential Nike Running colorway as Volt takes over the middle and top midsole with greys and white completing an updated take on the palette that made the Air Max 95 a smash hit. Vibrant, lightweight and breathable. Available at retailers like Kith.
Organised by Restaurant magazine, The World’s 50 Best Restaurants list is an annual snapshot of the opinions and experiences of over 900 international restaurant industry experts. What constitutes “best” is left to the judgement of these trusted and well-travelled gourmets.
There is no pre-determined check-list of criteria; for example an interesting experience in a simple establishment, where exceptional innovation was discovered, could be judged better than a more opulent meal from a widely feted restaurant team. The results are a simple computation of votes.
Given that this well-constructed list is based on personal experiences it can never be definitive, but we believe it is an honourable survey of current tastes and a credible indicator of the best places to eat around the globe.
How We Do It
The lists of The World’s 50 Best Restaurants and Asia’s 50 Best Restaurants (and the award ceremonies organised to celebrate their annual unveiling) are organised and compiled by William Reed Media. None of the employees of any of the sponsors associated with the awards, including the main sponsor and the Academy sponsor, votes or has any influence over the results.
The list is created from The Diners Club® World’s 50 Best Restaurants Academy, an influential group of over 900 international leaders in the restaurant industry, each selected for their expert opinion of the international restaurant scene. The Academy comprises 26 separate regions around the world. Each region has its own panel of 36 members including a chairperson to head it up. The panel is made up of food critics, chefs, restaurateurs and highly regarded ‘foodies’ each of whom has seven votes. Of the seven votes, at least three of which must be used to recognise restaurants outside of their region. At least 10 panellists from each region change each year.
The results are published online as soon as they have been announced to the assembled chefs and academy members in February in Singapore for Asia’s 50 Best Restaurants and in London in April for The World’s 50 Best Restaurants.
Some regions span more than one country. The decision as to how the world is divided up is left to the regional chairs and is debated and reassessed annually. The divisions are designed to fairly represent the global restaurant scene at the current time.
The main rules of voting are:
Voting is strictly confidential before the awards’ announcement
Panellists vote for 7 restaurants, at least 3 must be outside their region
Voters must have eaten in the restaurants they nominate in the last 18 months
Voters are not permitted to vote for restaurants they own or have an interest in
Nominations must be made for the restaurant, not for the restaurateur or the chef
Panellists submit their 7 choices in order of preference (and is used to decide on positions in the event of a tie)
Other than this there are “no rules”.
This is what makes The World’s 50 Best Restaurants and Asia’s 50 Best Restaurants unique and not comparable to any other guides or ranking of restaurants.
These criteria are designed to allow our panellists to vote far and wide. They could vote for a small, unknown restaurant in a secluded region, or select the best-known restaurants in the world or in their region – it is their opinion and the experiences they have had that matters.
This method means that restaurants cannot apply to be on the list, and cannot be nominated, and no external influences (from Restaurant magazine, William Reed or our sponsors) can influence the list. It also means that every restaurant in the world is eligible, unless the restaurant is closed at the time that the lists are announced, or we receive notice that it will be closing in the near future after the results are published.
There are no criteria that a restaurant has to meet. They certainly do not have to sell a certain product. They do not need to have been open a certain number of years and they do not need to have won any other culinary accolades.
Ronnie Fieg and Kith present the long awaited East Coast Project. Eight brands, plus an in-house collection, make up the full collection with a Kith pop-up store in Miami Beach (May 2-May 10) topping it all off.
The Kith East Coast Project takes the collaboration concept far beyond expectations with all the extended family involved. Accompanying the Ronnie Fieg x ASICS Gel Lyte III ‘New York City’ and ‘Miami Beach’ editions, this capsule collection goes to include custom-created headwear, outerwear, shirts, luggage and eyewear that each carry iconic team colors.
Partners like Play Cloths, Just Don, Golden Bear, Stance, Stampd, Herschel Supply Co. and Tina Catherine have all worked closely with Kith to create this carefully curated range of ‘New York City’ and ‘Miami Beach’ themed pieces. Made to complement one another as well as operate individually, each item captures the spirit of the two cities on the same coast with very different paces, but with a shared taste.
The collection will launch at the Kith pop-up store on May 2, following with the Kith Manhattan and Brooklyn Kith locations on May 10.
The Miami pop-up store itself will be divided into two parts – the two adjacent store fronts will have a Miami side open from 11 a.m. to 3 p.m. and a next door New York side open from 4 p.m. to 8 p.m.
Kith Pop-Up “New York” 1629 Jefferson Ave.
Miami Beach, FL 33139
Kith Pop-Up “Miami” 1627 Jefferson Ave.
Miami Beach, FL 33139
Check out the 13thWitness-produced lookbook in the gallery above.
The latest in the Roshe design is the Nike Roshe Run Metric – a fragmented, geometric version of the minimalist shoe. With blacked-out uppers in a cracked, mosaic tile-like makeup. Keep a look out for more color ways dropping.
Entrepreneur, Marc Ecko talks about building up the Ecko brand, creating Complex Magazine, and the upcoming release of his new book. For more great videos, log on to Allindstrom.com today! Shot and Edited by Justin Fleischer @jflei for CAN.DID Media @candotdid
The Monitor over-ear headphones from Marshall, are now available for sale. Priced for $200, the Monitor features the embossed script logo, black vinyl leather ear cups, 40mm drivers, and Marshall’s proprietary Felt Treble Filter system that lets you change the sound for different high-end uses. Marshall also threw in other goodies, too, including a popular 3.5mm pass-through jack to share your music, a detachable part-coiled cable, an in-line remote, noise isolation technology, and a snazzy carry bag and box.
Roc Nation Sports, Jay-Z‘s recently formed sports division of his Roc Nation entertainment company, has just signed Skylar Diggins. The current WNBA rookie and former NCAA basketball star was recently selected with the number 3 overall pick in the 2013 draft. Although Jay-Z is also eyeing NHL prospect Seth Jones and has already signed Yankees second baseman Robinson Cano, this is the first female athlete and first WNBA athlete that Roc Nation has signed. Despite her age, Diggins boasts quite the impressive resume including being a McDonald’s All-American straight out of high school and First Team All-American honors during her junior and senior seasons at Notre Dame.
So Me, né Bertrand de Lanergon, is the visual-arts half of Ed Banger Records, the electro label launched by Pedro Winter (aka Busy P.). Ed Banger is currently celebrating its first 10 years as a hit-making French music machine with a new book,Travail Famille Party, a play on France’s old Vichy slogan, “Travail, Famille, Patrie” (work, family, patriotism). Travail Famille Party is de Langeron’s intimate, non-digital look at a decade on the road, festivals, doing graphics and music videos, and having fun with the Ed Banger crew—Breakbot, Justice, SebastiAn, Mr. Oizo, Cassius, Krazy Baldhead, Mickey Moonlight, and DJ Mehdi, to name a few. The book, available in the US through Club 75, was launched in Paris with a show of de Langeron’s photos at the 12Mail/Red Bull Space Gallery. Interview talked to de Langeron to find out how his musical decade with Ed Banger flew by in graphics, video, and pictures.
REBECCA VOIGHT: Travail Famille Party covers 10 years of Ed Banger, like a family photo album. You’ve taken over 300 photos of your crew on the road and your inspirations. Describe some of your favorites [see slideshow, above].
BERTRAND DE LANGERON: I like this tree line in Paris’s Jardin du Palais Royal. I did nothing but press the button, even though one might think the picture has been Photoshopped. The real life Photoshop boys are the gardeners who are so precise in the way they prune the trees. The second picture is my partner in crime Busy P’s 2012 birthday in Palm Springs. The day was so hot it was almost vital to have a pool to cool off in. Those who stayed at Coachella that day really suffered from the heat. As you can see, we had a pretty good time ourselves. [Third,] a pool again, this one is at one of my favorite houses, called la Galaxie, which is owned by friends overlooking Cannes in the south of France. Then there’s Amandine and Pedro having fun vibing to the Strokes. This sums up another good time, and the guy’s tee is pretty priceless.
VOIGHT: What were you doing before Ed Banger, and how did you and Pedro Winter meet and start working together?
DE LANGERON: I had been studying graphic design and had just graduated in 2001. I met Pedro at a party where a friend was DJing. I had brought my first professional work, the cover for a recently published book, to show my friend DJ Pone from Birdy Nam Nam, who I’ve known since I was 12. Pedro saw that, liked it and asked to meet the next day at his office on rue Ramey because he was looking for someone to design his website. He had in mind a 100% hand-drawn site. Usually the late-night promises end up nowhere, but the next day we met, and from then on we have never stopped working together. My work developed through the drawings Pedro selected for our earliest collaborations. I would think: “Oh, he likes this better, so I ought to go in this direction.”
VOIGHT: What kinds of cameras do you use?
DE LANGERON: I use various small ones, from Contax to Ricoh to Fuji and others. Disposable works, too. The idea is to use only the smallest ones so I can have them with me 24/7 without looking like a paparazzo, or having to carry heavy stuff. In any case, I can’t be bothered carrying a heavy camera. If I had to choose, I’d rather photograph with my iPhone.
VOIGHT: The video for Major Lazer’s “Get Free” is almost like a book in itself. Describe the making of it.
DE LANGERON: I spent six days in Jamaica, with my DP, his assistant and a producer. We would wake up at six to get the morning light and go to bed at three after going to these crazy parties. A guy there knew everyone and took us under his wing, so we basically were able to go and shoot everywhere, and we did it almost non-stop. Now when you think of how insane some places were, the weather, and most of all, the fact we were shooting 16-mm film, which requires a lot of logistics, you can imagine how intense the shooting was. But it’s hands-down one of the most interesting experiences of my life. Jamaica is crazy—and I also mean visually.
VOIGHT: How did you develop the story and find the dancing kid for SebastiAn’s “Embody“?
DE LANGERON: This song has no proper singer; it’s SebastiAn’s voice, distorted and pitched. I wanted to impersonate the artist that could be the voice, but I started to think of that idea as cliché and overplayed, so I turned it into a dancer. There was still something strange about that voice, so I imagined this kid embodying the music everywhere someone would be listening to it. The kid is the song. Young label A&Rs take care of him, teach him how to dance, and midway through the video change his style, perhaps to improve the packaging of the song, to apply to a wider audience. All the kids I auditioned—this was a low-budget video, so casting was an issue—were technical and hip-hop dancers, but I was looking for a more retro kind of dancer, some sort of young MJ. Then I met Shamary, and that was it. I was very lucky to have him on board. I wasn’t actually allowed to shoot him in a bathtub with a half-naked woman, but he was always game. He was such a smart and fun kid. His dad was here the whole time, and he’s a stand-up comedian I think. Here’s a picture of them together on set. He was very charming and funny as well. I have good memories of this shoot, mostly because of this kid.
VOIGHT: Would you like directing a film?
DE LANGERON: Yes, I would love to, but with only with a good story, and the great ones are like pure gold. But I’ve never felt the need to rush anything anyway. Good things have always come to me naturally when the time was right, so hopefully I will direct a good story one day.
VOIGHT: How would you describe your art direction?
DE LANGERON: To me, directing a music video, or drawing a T-shirt, or putting pictures in a book, are pretty much the same thing. It’s art direction, it’s about knowing what you like and what you don’t and keeping a straight visual direction to achieve something. I do graphic design through illustration, not really using existing fonts or computer tricks. It’s a pre-computer era type of graphic design, like in the ’70s. Back then, illustration and drawings were really a key part of mainstream visual communication, or at least much more so than now. I can’t say if this shows in my photos or videos, but most directors and designers I like had their peak in the 1970s.
VOIGHT: Why does this book include so many pictures taken in the US?
DE LANGERON: Well, I think the US is very photogenic, particularly back in the day. Part of it has to do with the fact that my whole childhood was rocked by US pop culture, cinema and TV. When I walk the streets in New York City, I still feel like I’m in a movie. The American TV series Starsky and Hutch was shot on a small budget in the streets of LA, because that’s where they were. I like the fact that there weren’t any sets on low-budget series like that, so you can see what average cars and houses look like.
VOIGHT: How much of your videos and artwork is based on collaboration? Or do the artists just say, “Make something beautiful for my song”?
DE LANGERON: As far as collaboration with artists goes, it’s never the same! Ideas come when you don’t expect them. When artists don’t have their own idea, it will either be cool because they trust me as a collaborator to translate their music into images, or it can be someone who doesn’t like much, is rarely satisfied and isn’t able to articulate how to improve things.
VOIGHT: What’s next?
DE LANGERON: More music videos, perhaps, and more graphics for sure. My clothing line, Club 75, will be out soon. But to be honest, I never know what I will do next. I’ve always been going with the flow, and trying not to do the same things twice. The other day, a friend of mine was looking at the book and said, “Here’s another string to your bow, but it’s actually a harp by now.” I think the fun is in diversity, and so I like to take my experience from one field and put it into something I’ve never done before.
Report from Paris photo exhibition at 12 Mail & book launching at Colette
Limited edition of “Travail, Famille, Party”
Next book signing sessions are listed bellow :
May 3 : London, Rough Trade East (+ exhibition from April 29 until May 12)
May 8 : Lyon, Datta bookstore
May 10 : Brussels, Alice Gallery
& more to come…
