In By Jordan Peele No, there is an unspoken confrontation between two cowboys. On one side is the archetypal cowboy: Steven YeunRicky “Jupe” Park, a child actor, filmed his big role in a remote Western amusement park called Jupiter’s Claim, where he chirped in a crimson embroidered Nudie suit and wide-brimmed hat . On the other side is a contemporary cowboy: Otis Haywood Jr. by Daniel Kaluuya or OJ, a third-generation animal trainer who grew up on his family’s farm, wearing a hoodie and jeans like many ranchers in the 21st century. OJs offer a smoother transition between farm and real world — because, from a slightly different angle, they’re also streetwear.
During production, Kaluuya hooked up with his friend, designer Jide Osifeso, about producing streetwear adjoining merchandise to commemorate the film.
“I went to Jordan and [Peele’s production company] Monkeypaw with the idea of reaching more people in the culture outside of the cinema world with a collection of capes, the goal is to start a relationship with the young fashion world, who have a lot of decisions in the culture chemistry,” said the actor GQ by email. “The capsule collection with Jide Osifeso is a bridge, a way to translate the film in a new medium that can reach people we have never reached before. Jide’s clothes are always at the intersection of time and trendy, which feels very suitable for No. “
Their connection becomes easy. As Osifeso said by phone recently from Los Angeles, “Our conversations are about our perspective on life, our perspective on the challenges of working in this space, and exporting. emanating from our platform,” he said. “We are both children of African immigrants – he grew up in the UK and I was in California, obviously, but it’s very, very similar.” Together they design a capsule graphic-heavy t-shirts and hoodies — including a riff on a safety orange crew jacket from the 2001 movie Scorpion King which OJ wears throughout the movie, in a nod to salesman everywhere — that duo is seen as an extension of Peele’s hyper-fictional matrix.
Kaluuya and Osifeso shared ideas back and forth over 10-second voice memos, pondering which specific images from the film they might want to incorporate. (An original design inspired by the fictional fish sandwich business Copperpot’s Cove appeared in all of Peele’s movies and where OJ and company made their fortunes very early on No.) Osifeso found himself stuck on “That first sick video of Black Man on Horse” opens the film and what it conveys about Blacks, equestrian culture, Hollywood, and America at large.
Even after Lil Nas X had a huge “Old Street” and a broader pursuit of “agenda yee-haw, ” Black cowboy culture is at the same time belittled and misunderstood—which puts it immediately in Peele’s commentary-cultural importance. “The movies that Jordan makes in general have a certain curiosity about them, which requires people to re-examine their notions or preconceptions about people or things,” Osifeso says. , and “Black cowboy culture has existed since we were here in the first day of America. “