ERD — Hoodies

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...

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...

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...

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 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...

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...

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 —...

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...

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...

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...

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...

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...

The word at the top is MEMORY. Everything below it is evidence. A dense white collage print runs across the front chest: portrait photographs, a seated figure, fragments of text and small images layered together like a bulletin board or a page torn from...

The front is a column. The back is a report. On the left side of the front, two white image blocks are stacked vertically: a figure near a window in the upper frame, a figure seated or collapsed in the lower one. Between and...

This one looks like it came out of a zine that was photocopied until the image started to break down. The base is black heavyweight fleece, bleached at the seams, cuffs, and hem in washes of blue-white — not a symmetrical pattern, not a...

The title on the front is a banned book. The text on the back is the reason. The Well of Loneliness — Radclyffe Hall, 1928. The first novel in English to deal openly with lesbian love. Within months of publication it was prosecuted in...