hoodies

The front carries a martyr. A seated figure in high-contrast white — long-haired, still, rendered in the kind of grainy overexposed print that looks like a photograph pulled from a fire. A "V" marks the left side. The sleeves carry fragmented image panels on...

The title runs across the chest in Japanese: 甘美なるアリスの降状 — the sweet surrender of Alice. Below it, two image panels in high-contrast black and white: animal and figure locked in tension, the kind of image that sits between nature documentary and nightmare. A vertical...

The title runs across the chest in Japanese: 甘美なるアリスの降状 — the sweet surrender of Alice. Below it, two image panels in high-contrast black and white: animal and figure locked in tension, the kind of image that sits between nature documentary and nightmare. A vertical...

The front panel is an icon. A woman, hands pressed together in prayer, head tilted, expression somewhere between rapture and anguish. The image is large, square, high-contrast — black ground, white figure, the kind of reproduction quality that makes it look recovered rather than...

No full face. Only parts. The front carries two black-ground panels — close-cropped facial fragments in stark white: an eye, a mouth, a jaw line, cropped so tightly they stop being recognizable and start being abstract. The zip cuts between them. The ENFANTS RICHES...

This one makes no attempt at subtlety. The front announces the brand in full: ENFANTS / RICH / E & / DÉPRIMÉS — stacked vertically beside two image panels showing extreme-sport action sequences in high-contrast black and white. Bodies in motion. Gravity present. The...

Clean black. No wash, no distress, no fade. The front chest carries a single small panel: a blue-outlined box, an "erd." tag, and one line-drawn figure mid-motion — falling, or jumping, or both. That’s the whole front. Restraint as a design decision. The back...

Same program as the black version. The front carries a large blown-out image: a man in partial profile, a bicycle frame behind him, the image degraded enough to feel like it was recovered rather than produced. Handwritten tag on the left sleeve. The back...

The front opens with a single large image: a man in three-quarter profile, a bicycle frame partially visible behind him, rendered in blown-out black and white — the kind of image that looks like it was photocopied until the detail started to dissolve. The...

The front is almost nothing: a small white cross, left chest, clean linework on flat black. That’s the whole front. The cross is the setup. The back is the argument. Dense white text fills the entire back panel — a religious confession, or something...

The brand name is the design. On the back, ENFANTS RICHES DÉPRIMÉS is spelled out across three separate patch labels — “ENFANTS” in red across the top, “RICHES” and “DÉPRIMÉS” in smaller woven patches at the bottom. Between them, five square black-ground patches arranged...

The title is the frame: 楽屋 — backstage. The space behind the performance, where the roles come apart. ERD puts two figures in that space. The front panel: a woman, seated or curled, photographed in high-contrast black and white — the posture ambiguous between...

The bird is the subject. A large white eagle — wings spread, rendered in rough, almost woodblock print strokes — occupies the center of the front panel. The style is deliberate and crude: not refined illustration but something closer to a folk tattoo or...

Two worlds on one garment. Neither explains the other. The front runs a large landscape across the entire chest: dense black silhouettes of trees and brush in the foreground, two small figures standing somewhere in the distance. The image is high-contrast, almost woodcut —...

The front shows you the face. The back shows you the other end. On the left chest, a dark square ground holds a line-drawn lamb — facing forward, rendered in cream on black in a style that sits somewhere between a children’s book illustration...

The text on the front is a statement. The text beneath it is a date. YES, I DO BELIEVE IN GOD — printed in large distressed letters across a black chest panel, the zip splitting the word BELIEVE down the middle. Below the kangaroo...

Three frames. One person. Three different moments of not looking at you. Centered on the front chest, three square black-and-white photographs arranged side by side like a strip of film: a young woman, or a girl, in each frame. First frame: turned to the...

Most garments in this lineup announce themselves. This one doesn’t. The graphic is printed in black on deep washed ash gray — same tonal register, low contrast, almost submerged. On the front, a wide horizontal panel spans the chest: a dense crowd scene, bodies...

Three police cruisers, stacked and crushed. That’s the back. White line-drawn illustration on flat black — three cop cars piled on top of each other at different angles, compressed and overlapping like a traffic accident or a deliberate act of disorder. The image has...

No image. No text. Just the name. ENFANTS RICHES DÉPRIMÉS — two lines, left chest, printed in a dusty rose pink on heathered light gray. The typeface is serif, the color is quiet, the placement is where a pocket would be if there were...