Stussy Wallpapers Dope HUF Wallpapers

Description

For all the Stussy awesome fans out there ♥♥, install this must have themes for you chrome and chromebook.
Chromebooks and chrome optimized themes for all screen resolutions (1920x1080, 1366x768 and more).

5 star rating will go a long way (very long), your feedback is my bread and butter and it motivates me to improve, add wallpaper and features, so please consider rating this. Thank you ;)


FEATURES:
- Select your favorite wallpaper from many available Stussy wallpapers. Shuffle all Stussy pictures (randomized background images) or select your favorite Stussy picture.
- Choose pictures of your favorite styles like dope tumblr wallpapers of supreme, nike, vans, bape , yeezy ...
- Check Date & Time instantly with a digital clock in Chrome new tab themes.
- Highest Quality - All themes are HD or 4K quality from the best artists in the fan art community.
- Cool Addons - Time, Weather, Search Box, Must have links to Facebook, Youtube, Gmail, Instagram, Twitter, SnapChat, Tumbler etc...


Latest UPDATE:
- Added "Uninstall Button" to help out with uninstall if needed.
- Added more wallpaper by users requests.
- Improved theme performance on Chromebooks.
- More links in the link box.


ABOUT Stussy
Stüssy /ˈstuːsi/ (pronounced: stoo-see) is a clothing brand and private company started in the early 1980s by Shawn Stussy. The company is one of many that benefited from the surfwear trend originating in Orange County, California, but it has largely been adopted by the streetwear and hip-hop scenes.[1]

NEW YORK, United States — In 1980, California-bred Shawn Stüssy began creating surfboards that combined innovative performance shapes with a graphic style combining elements from reggae, punk and new wave music, leaving his literal mark on each board with a broad-tipped black marker. His signature paid homage both to graffiti handstyles and his uncle, abstract painter Jan Frederick Stüssy.

Stüssy porkpie hat | Source: Courtesy
Stüssy porkpie hat | Source: Courtesy
In 1984, Shawn Stüssy went into partnership with accountant Frank Sinatra Jr. (no relation to the singer) on an apparel line using Stüssy’s name. The label was the first to make caps marked with signifiers for fashion brands, not sports teams. The idea came from kids who donned white painter’s caps — Stüssy reinterpreted them with his own graphics and colour schemes. Among two of Stüssy’s most enduring designs are a pair of linked S’s, a play on the famous interlocking C’s of the Chanel logo, and a graphic that says “Stüssy No. 4,” riffing on Chanel’s signature perfume. By 1990, the business was generating $17 million in annual turnover. By 2014, Stüssy, still independently owned and operated by the Sinatra family, had grown into a global streetwear brand with annual revenues of $50 million.

How did they do it?

“They may have come from a skate and surf background, but they didn’t stay there,” says Chris Gibbs, owner of streetwear-led menswear store Union Los Angeles.

In the brand’s infancy, Shawn Stüssy travelled to cities like London, Paris and Tokyo, where he found people who shared the same tastes in music, fashion, and culture. In 1991, Shawn Stüssy and James Jebbia, then-owner of Union and future founder of streetwear label Supreme, opened Stüssy’s first flagship store in New York. A 900-square-foot space located at 104 Prince Street, it was part of the first crop of retailers that planted their flags in the still-gritty, up-and-coming Soho neighbourhood.

Stüssy’s globe-trotting, like-minded group of DJs, club kids, skaters, and multidisciplinary creatives included guys like Hiroshi Fujiwara, Michael Kopelman, and Luca Benini — all of whom have helped disseminate the aesthetic and culture of what’s now called “streetwear.” The so-called “International Stüssy Tribe” spread its message not just by wearing all manner of custom varsity jackets, graphic tees and baseball caps (Kopelman credits Stüssy as “the first company to send boxes of gear to fans”), but also through an all-encompassing lifestyle that transcended genre.

Mario Sorrenti shoots Stussy for the cover of Let's Panic | Photo: Mario Sorrenti, courtesy Let's Panic
Stüssy shot for the cover of Let's Panic | Photo: Mario Sorrenti courtesy Let's Panic
The Stüssy style did to clothing what hip-hop did to music: creating something new and fresh by sampling the familiar. Stüssy apparel was as rife with lyrics by Bob Marley and Eric B. & Rakim as it was with design nods to Comme des Garçons. Stüssy himself was often inspired by magazines like i-D and the store reinforced the unique visual language of the clothes with forward-thinking campaigns and editorials by photographers like Ron Leighton, Juergen Teller, and Mario Sorrenti.

“It became this mash-up of what was going on at the time, which was hip-hop and surfwear,” adds E.P. Cutler, a consultant for WeConnectFashion and author of an extensive report on the 2015 streetwear market. “Stüssy was the first to marry the two in a way that was really interesting.”

As the company approached the mid-nineties, however, it began to falter. Stüssy’s hand-styled logo was being confused with the similarly scrawled signature of American youth-oriented clothing label Mossimo, which was less selective about its list of stockists than Stüssy. The brand was also losing business to a new trend — urban-themed lines skewed towards a more aggressive hip-hop aesthetic. iphone 6 iphone 5 iphone 6s plus ipad mini iphone 4s iphone 5c supreme bape obey hypebeast galaxy streetwear desktop computer android ios laptop phone vintage hipster tie dye floral diamond supply co tropical world tour huf hype skating 8 ball stussy logo crown gold ice cream we heart it bbc undefeated black and white the hundred beme tumblr swag camo casey neistat nike japan camo print skateboarding hip hop crooks and castle 10 deep evisu fragment design urban pink burgundy red blue purple smoke mountain beach forest flower nike diamond symbol palm tree samsung pacsun new era yeezy kid cudi ssur johnny cupcakes fashion designer model branded clothing vans adidas black scale mastermind kush rasta adidas skateboarding tribe asap ahoodie emerica migos flatbush zombies real skateboard original fake rvca etnies milo incase clothing brand lrg logo international marvel new york tokyo london seattle patta worldwide nike air shorty dgk pyrex retina mishka skull tom ford macbook imac soulection dreamville bmx jungle nike sb guam leopard cheetah bathing ape sophnet mastermind japan 90's been trill iphone wallpaper agario pigalle fake lookbook white black swag hello kitty zumiez urban outfitters wallpaper hd kiko sticker aliexpress light old school exo bts nas pro era knowledge is king beastie boys a tribe called quest de la soul chanyeol sorayama peter tosh rare kevin lyons travis scott parra ian connor frank sinatra jr compton dilla j dilla jual big audio dynamite woman japan tyrone lebon haze holden today is good day kiko kostadinov david sinatra lookbook woman clot yo mtv raps ikon yams cameron dallas jan james jebbia niall horan kid baby nick bower norman reedus kanye keith ape kim kardashian kylie jenner kendall jenner g dragon t shirt font hat converse i miss you “In the early ‘90s, ‘urban’ was where it was at: Triple Five Soul, FUBU, Mecca, Akademiks — those guys were driving the market,” remembers Gibbs.

The label’s decline was punctuated by Shawn Stüssy resigning as the company’s president in January 1996, citing the desire to spend more time with his wife and son in Hawaii, saying it was “not a hostile thing.” His departure precipitated the company’s worst performing year ever.

“That was the lowest point in Stüssy’s history,” recalls David Sinatra, Stüssy’s 28-year-old chief executive and Frank Sinatra Jr.’s son. The company’s revenue had been reported at $35 million the previous year and in 1996 it sank to $21 million. Despite the dip, the business remained in the black. “My dad would want me to remind you that we’ve been profitable every year of our 35 years,” jokes Sinatra.

Frank Sinatra Jr. took the reins of Stüssy and a new creative team was put in place. Nick Bower, a Central Saint Martins graduate whose first job was at Valentino, became head designer. Paul Mittleman was appointed creative director in 1997. The second iteration of Stüssy lacked Shawn Stüssy, but besides his last name, the company also had a rich visual well of over fifteen years of archives to draw from.With sales declining in the United States, Sinatra Jr. focused on building Stüssy’s global business, where it was received especially well in Japan. At the time, the Harajuku streetwear scene was booming: brands like Hiroshi Fujiwara’s Goodenough, Nigo’s A Bathing Ape, and Shinsuke Takizawa’s Neighborhood flourished.In Europe, Luca Benini helped boost Stüssy’s retail presence through his distribution company, Slam Jam. To this day, Stüssy does more business globally than it does in the US and David Sinatra estimates the split is about “60-40,” with Japan remaining its largest customer base. Stüssy’s international tribe has swelled into a worldwide movement.


“Even though they don’t have the original designer, their most iconic signature would be the font — his handwriting, which they were able to retain,” says Gibbs.

Stüssy also traded in the currency of the logo flip — the reinterpretation of famous trademarks and images with a knowing nod, channelling the attitude of placing graffiti or a sticker over a subway ad. In addition to Stüssy’s Chanel homages, the younger Sinatra remembers one particular Stüssy pattern modelled after Louis Vuitton’s monogrammed print: “I know Shawn did it, it was probably in the late ‘80s, we called it ’Stu-ey Vuitton,’ and we got sued for it, actually.”

“With all those logo flips, we have a long history of cease-and-desist letters,” admits Sinatra, who sees Stüssy’s torch being passed to current designers such as Virgil Abloh and Shayne Oliver.

“Shayne Oliver, he’s a street guy. He’s 100 percent one of the better fashion designers of our day, but he’s also a guy who would throw a lot of parties and would DJ — and that’s what we do.”

Despite rumours in the early 2000s that Sinatra Jr. had plans to sell the company to Renzo Rosso, whose OTB Group is the parent company of brands including Maison Margiela, Marni and Diesel, Stüssy remains an independent label. It operates more like a family business than a global corporation, but it also feels like a fashion house with the shadow of its original designer looming over it. David Sinatra has taken on a more active role in the day-to-day operations in California, along with Vancouver-based Fraser Avey, Stüssy’s 29-year-old global brand director.“The business has grown in a crazy way the past couple of years,” says Sinatra. “We reluctantly did over $50 million last year.” Reluctant because, according to Sinatra, the company is currently trying to cut back and stay small. “It was probably one of our biggest years ever — and it was an accident.” Sinatra characterises Stüssy’s third act as having a “brand-first, revenue second” philosophy, in order to avoid becoming “this big monstrosity that doesn’t stand for anything.” As a market, Cutler describes streetwear as an industry that business-minded types “are trying to get their hands on, but they don’t really know.” Her report valued the streetwear industry at around $75 billion in 2014 — half the size of the $150 billion market for sportswear apparel.

Unlike Volcom (acquired by Kering in 2011 for $608 million) and A Bathing Ape (acquired by Hong Kong conglomerate I.T in 2011 for about $2.8 million), by choosing not to sell, Stüssy has worn its authentic streetwear provenance on its sleeve.

“We look at Nike, Patagonia and some of these other brands that have this wider reach but still have a really strong connection to what makes them special,” says Sinatra.

The last four years have seen fresh faces appear in Stüssy’s creative team. Paul Mittleman left his post as Stüssy’s creative director in 2011 to become Adidas’ global senior design director. Nick Bower resigned in 2014 as Stüssy’s head of design. Nin Truong, founder of the streetwear label Maiden Noir and accessories line Blk Pine Workshop, has since assumed Bower’s duties as design director.


How to uninstall:
- Right-click on the icon of the extension and choose "Remove from Chrome".

The extension was made by fans, for fans. We are not affiliated with or sponsored by the entity whose materials are represented in this extension.