Simply put, “Tribal and the Cultural Legacy of Streetwear,” as author G. James Daichendt writes in the book’s preface, is “a series of chapters, essays and personal reflections that explore the various dimensions of Tribal Streetwear.”
But the book really is much more than that.
Yes, the volume, which Daichendt edited and was published by Intellect Books, is centered around the San Diego-based company started by Bobby Ruiz that celebrates its 35th anniversary this year.
But throughout its 256 pages, “Tribal and the Cultural Legacy of Streetwear,” under Daichendt’s watchful eye, examines how Tribal Streetwear has, since 1989, straddled the intersection of community, art and culture. The pieces in the book take a deep dive into how it derived inspiration from and has left an indelible impact on a variety of subcultures, including graffiti, street art, tattoos, lowriders, music, skateboarding, surfing and breaking.
Tribal Streetwear “has strong Chicano roots in its aesthetic and since its inception in 1989, the impact of its designs continues to balance the precarious act of being relevant and responsible with its resources,” writes Daichdent, who, in his own words, “uses Tribal as a lens for examining the history of streetwear and the subcultural aspects that make it such an exciting development in cultural studies, art history and sociology.”
Daichendt, the Provost and Chief Academic Officer at Point Loma Nazarene University, talked about the book, its inception and the far-reaching impact of Tribal Streetwear.
Q: You recently came out with a new book, “Tribal and the Cultural Legacy of Streetwear.” How did this book come about?
A: Street art and graffiti have long been a subject of academic study for myself. As I have investigated writing projects, the larger concept of street culture has become a subject of interest which includes many subtypes, situations, locations and participants. This revelation has expanded the subject matter I could study and led to some exciting exhibitions, articles and experiences. While the subcultures of surfing, skateboarding, lowriding, breaking and tattoos within Southern California are not entirely new to me, I had never explored them as academic subjects. This expansion of my own work coincided with meeting the CEO and co-founder of Tribal Streetwear, Bobby Ruiz, who further enhanced my understanding and appreciation of the history of street culture in San Diego and beyond.
Q: You have had a long relationship with streetwear — specifically San Diego’s own Tribal Streetwear — as art and how it intersects with community and culture and art. How difficult was it to try and capture that in this book?
A: Streetwear is an international phenomenon that ranges from local skateboard shops to international fashion houses like Louis Vuitton. Tribal Streetwear is celebrating 35 years in San Diego, and it would be impossible to capture the depth of their involvement in the community and the range of products and experiences they have created over three decades. My goal was to further the academic conversation about streetwear and use Tribal as a lens for facilitating that conversation.
It’s difficult to comprehend how the articles of clothing produced by Tribal — including shirts, pants, jackets, hats, and a variety of fashion accessories — can be symbolic of so many different subcultures that are distinctly rooted in their communities. It’s a massive accomplishment, and it’s what distinguishes Tribal as an authentic organization that “keeps it real.”
Q: You were able to gather many voices in this book. How did you go about choosing whose voices to include?
A: The book would be limiting if it was just one voice. As an art historian and critic, I have a particular way of analyzing information so it was important to me to include researchers from a variety of fields, including criminal justice, sociology, literature, history, Chicano and Chicana studies, film, philosophy, and music studies. In addition, there are personal histories and reflections from practitioners that have a history with Tribal Streetwear. This diversity of experiences, thought and writing styles created a well-rounded portrait of streetwear in popular culture.
Q: Once you started working on the book, were there any surprises along the way?
A: Tribal Streetwear is so much more than a streetwear brand. They are embedded within the street culture. It’s one thing to say that and it’s another to see the T-Star logo tattooed on someone’s skin, affixed to their lowrider, or incorporated into their personal artwork. Tribal represents a community, personal identities and is a way of life. The fever and ion are inspiring and rewarding to witness. I knew it was important, but I was surprised at the depth of emotional commitment to Tribal and its place within so many different types of people.
Q: What was the most rewarding part of this project?
A: I feel like an honored guest in each of the subcultures represented in the text. As a professor, one could feel they are studying a movement from the outside, but in each case, I was quickly adopted because of my interest in the subject.
Q: The most challenging?
A: The term “streetwear” caught stride in the 1990s and was generally understood to be in alignment with the various subcultures that Tribal represents. The clothing style also evolved to include several variations that were reflective of the country or city it was from, but the base of T-shirts, hats and sneakers remained the same. Yet, not all street wear companies are the same and many lose their connection and inspiration to the street culture. Bobby shared early on with me that there is a version of streetwear that is born from a keyboard and another that is from the streets.
Q: The book clocks in at more than 250 pages. Did anything end up on the cutting-room floor? And if so, was it hard letting go?
A: There are thousands of photographs, personal s and individuals that contributed towards the story of Tribal Streetwear. However, the academic focus of the text helped us concentrate on what was essential.
Q: What do you hope readers take away from this monumental book?
A: Streetwear is a core aspect of street culture and is arguably the most widely seen characteristic and expression of this concept.
I hope readers realize that street culture is a massive concept that has had a huge impact on culture and that there is creativity and arts production happening in a big way on the streets of our communities. San Diego specifically has a strong museum and gallery culture but some of the best work is happening outside the walls of institutions and takes the shape of a lowrider, an article of clothing, or in a tattoo shop.
I hope each of these chapters collectively furthers our understanding of how and why Tribal is able to be more than a clothing company to hundreds of thousands of people around the world. Tribal is uniquely San Diego from its Chicano roots to the range of artists they to create progressive designs for their products.
The Tribal T-Star logo serves as an excellent representation of the many folks that make up the brand and the company’s philosophy and focus on culture. Made up of several “T” letters that lock together like a puzzle, the logo showcases a star in the negative space. A metaphor for the various aspects of street culture and family coming together to form something special.
“Tribal and the Cultural Legacy of Streetwear” (Intellect Books, 2024; 256 pages)
