The Box logo of Supreme is perhaps one of the most iconic logos one can think of. From hoodies to ceramic vases – there's a good chance that Supreme has claimed it with their bright red logo. In 2024, the American brand turned 30, a good reason to have its own exhibition that highlights its unique position in contemporary culture.
Curator Bao Yao Fei
I meet Bao Yao Fei, the curator of the exhibition ‘Supreme - Resampling the World’ at Design Museum Den Bosch. Fei has been working at the museum for several years and was involved in previous exhibitions such as ‘Sneakers Unboxed,’ ‘Dance - Design of a Culture,’ ‘Designed Love,’ and ‘Post-Tribal.’ But it was the pitch for a Supreme exhibition that led him to his current position.
“The idea for this exhibition had been in the works for a while,” Fei explains. “During my interview for the museum, I was given the task to pitch an exhibition, and this is the one you see today.”
With a background in fashion and art history, Fei feels strongly drawn to the fascinating story of the American brand Supreme: “From a design perspective, the red Box logo is so strong, but on a societal level, Supreme and its logo have meant so much.”
Kate Moss
Fei’s fascination with Supreme began at a young age. “When I was around 14 or 15 years old, I was walking through the Silk Market in Beijing, the place for bootlegs and fakes. Here, my eye landed on a shirt with Kate Moss in a bikini and the Supreme logo.” Without knowing what Supreme was, Fei bought the shirt. “I just thought it was a cool shirt.”
A few years later, Fei began studying fashion and learned about brands like Dior, Maison Margiela, Jill Sander, and Rick Owens. Supreme, a brand that was still fairly 'low profile' at the time, also came up. “Supreme, in my opinion, wasn’t very conceptual, not artistic like the other brands we were learning about back then.”
Still, Supreme had the world in its grip, thanks in part to the red Box logo that spells the name 'Supreme' in the Futura BT Pro Bold Italic font. The logo appeared on renowned works by major names like Rietveld, Louis Vuitton, Meissen, and Burberry.
Fei: “When the Supreme Rietveld chair was released, there was a certain sense of disbelief, almost envy. How could this logo appear on a cultural piece like that? At the same time, it was also very interesting that a brand like Supreme managed to pull this off.”
Cultural phenomenon
What began in 1994 as a clothing store in New York has grown over the past 30 years into a global phenomenon. The famous drops led to the phenomenon of ‘camping,’ where fans would camp out for hours, sometimes days, in front of the store to not miss a drop. “Brands like Issey Miyake and Comme des Garçons were already doing drops in the '80s and '90s,” Fei explains. “Supreme gave the concept a new meaning.”
Supreme originated from a skate culture, an anti-establishment or ‘low culture,’ as it can be called. The iconic print tees or hoodies, emblazoned with the Box logo, grew into a true phenomenon in the streets and represented a group that was unheard of at the time.
“Supreme bridged the gap between high and low culture,” Fei explains. He points to the many collaborations the brand has had, some focused on fashion, others on design. “The brands Supreme collaborated with already had a certain status that fit into the established order.”
As a kind of counter-movement, Supreme emerged and established itself as a notable name alongside prestigious brands like Louis Vuitton and Rietveld. “Supreme had to fight for its position in a time when that was very difficult. How they managed to do this and the paths they took are perfectly constructed. It's as if they've created their own myth.”
Unique or rather mainstream?
Exactly that last point, the term 'myth,' plays a key role in the exhibition, which, by the way, was not created in collaboration with Supreme. With this exhibition, Fei wanted to tell more than just the story of the drops, collaborations, and collections of the brand; the societal significance is also addressed.
“The designs of Supreme itself aren’t necessarily groundbreaking; each item is printed with the iconic logo, which, from a design perspective, isn’t particularly complicated. The logo is powerful, but its meaning has mainly been shaped by the consumers, like you and me,” Fei explains. “The fact that we’re dedicating an exhibition to this brand highlights this and contributes to this myth.”
The exhibition showcases the culture and history behind the brand, referring to the ‘American Dream,’ which, according to Fei, can also be interpreted as a myth or concept. “Supreme started as a counter-movement, yet their work has now become mainstream.” Fei refers to the moment when Tyler, The Creator was spotted wearing a green cap with the red logo: “Suddenly, everyone wanted Supreme.”
As of 2025, Supreme is a well-known phenomenon in the streets and perfectly balances between mainstream and exclusivity. Although the logo can be found everywhere – from lighters to ceramics – the brand remains one-of-a-kind.
“There is no brand like Supreme,” says Fei.
Exposition
As we walk through the exhibition, Fei shares the story behind some of the pieces on display. “This is my personal favorite,” he says, pointing to a colorful angel made of porcelain.
Fei is referring to the collaboration with the first European porcelain brand, Meissen, from 2019. “Such figurines would be ignored in thrift stores, but Supreme knows how to make them cool. That’s what makes it so interesting.” Additionally, it’s secretly just a beautiful item, which definitely helps too.
The exhibition has been running for a few months and attracts a diverse audience. “One visitor is familiar with Supreme’s work, while another has no idea and is pleasantly surprised.” Even though the exhibition doesn't showcase clothing, only design items, the Kate Moss tee from Beijing is still in the back of Fei’s mind.
“That’s where it all started,” Fei laughs.
The 'Supreme - Resampling the World' exhibition is on display at Design Museum Den Bosch until March 23, 2025. Plan your visit here.
