The last time I interviewed Walé Adeyemi was back in 2013 for the style pages of The Metro, at a time when UK streetwear still wasn’t getting the recognition it deserved. Over a decade later, after some time out in the shadows, the revered British-Nigerian designer is bringing his eponymous label back into the spotlight, revisiting the DNA of a brand that helped soundtrack and style an era of British nightlife and youth culture.
UK garage in the late 1990s/early 2000s provided the perfect backdrop for Adeyemi’s graffiti prints, bold denim sets and graphic-heavy silhouettes. A fast-moving culture built up via MCs, pirate radio and raves, it influenced how an entire generation dressed and moved. During his rise, Adeyemi’s styling work would push beyond the scene itself: he was brought in to create (loud) looks for hot-on-the-block talents such as David and Victoria Beckham, Outkast and Ms. Dynamite, translating UKG culture into something a bit more elevated. Adeyemi’s early work helped bring club style into mainstream fashion, a space now led by designers like Martine Rose and Demna Gvasalia (Gucci, Balenciaga). Simply put: Walé Adeyemi was ahead of the curve.
As he was designing clothes, Adeyemi was also documenting a cultural shift as it was happening. From his days on Camden Market to working with globally-loved stars, his label grew into something with a life of its own before he decided to put things on pause. Now, as he approaches thirty years in the game, he’s revisiting the archive, reworking signature pieces and bringing that original ethos of authenticity, culture and connection back into play (and to be honest, his designs have been sorely missed).
We caught up with Wale Adeyemi MBE to discuss his brand’s long-awaited return, UK garage’s influence then and now, Black British style, and more!
COMPLEX: Back in the early 2000s, UK garage was just as much of an attitude and way of life as it was a musical genre. What did that scene feel like on the ground at the time, and how did that energy feed into your graffiti-heavy clothing and visual style?
Walé Adeyemi: It was raw, real and right there in front of us. We felt ownership of those spaces we inhabited. The American influence on the UK streetwear scene was definitely still there, but this time we really came through with our own styles: slimmer cuts, bold prints, denim sets with loafers, cartoon characters, etcetera. I was inspired by all of this at the time and proud that my designs were being worn and styled in unique ways. Music has always been my foundation.
What’s the story behind the graffiti print? I’m guessing trips to NYC in the ‘90s played a part—especially seeing the graffiti-covered trains and streets in person.
The whole graff experiment came into play as I was always intrigued by tags and the process. Tags were used once an artist had thrown up a piece of art somewhere, either on trains or on a wall or surface. I wanted to use the tag style to simplify the artwork, but at the same time tell a story in a mysterious way. I worked alongside a graff artist and it developed from there. When we first worked on this, it didn’t really have any major effect, but I just kept pushing with it.
Your brand emerged at a time when Black British youth culture was entering a new phase, and the way it was represented was beginning to shift. Did you feel like your garments were documenting that moment as it was unfolding?
100%! It was the time of a DIY attitude, so it was the early days of collaborations—musicians, artists, creatives, DJs, beatmakers; we all needed each other to build our foundations. We had eyes on us—we weren’t afraid to lean on each for support knowing that growth for one person would elevate another.
The culture of UKG was as flashy and high-end as it was raw and full of underground hype. How did you bring those two elements together in your work? Walé Adeyemi was a brand you had to have money to rock, but it still carried an authenticity that other brands like Moschino, Iceberg and Versace didn’t quite capture in the same way.
I think being a British designer and holding my own alongside those more reputable names gave the brand a credibility on the ground, in the clubs and on the streets that they couldn’t achieve. Somewhere between the curb and the boutique speaks volumes about how we positioned ourselves; the designs have always been versatile.
When you look back, do you think the industry underestimated what was happening in UK streetwear during that era?
It was a self-sustained industry at the time, with room for growth. I don’t think we quite understood. We were creating before everyone had the internet and social media, before influencers. My personal feeling was people who were going to those types of raves and parties, wearing the clothes, were there purely to have a good time, feel good and look good.
How important was authenticity to you when the brand started gaining attention outside of the core UKG scene?
To be honest, before the garage scene, I was immersed in many genres of Black music: soul music, R&B music… I had a stall in Camden market, and my space was opposite a drum & bass record spot, so people used to pick up tunes and then come across to get clothes to wear out that night. So I also dressed a few DJs and promoters early on.
A lot of brands from that time either disappeared or lost their identity—what do you think separates the ones that lasted from the ones that didn’t?
I think authenticity always comes through. It’s important not to try and jump on every trend—it’s not sustainable, especially now as things move so quickly, and people’s attention spans are dwindling. It’s natural to not be in the spotlight 24/7, but knowing that you’re genuinely true to yourself and what you believe in is as important.
What are your Top 3 favourite pieces from back in the day that you still think could do a madness out there right now?
I think our classic graffiti print denim jackets will forever hold weight; it’s mad when I see them still being worn out and about. It would be easy to say the graff beanies too, but for me, our 2003 Must Be The Music line of graphic printed tees and sweatshirts really speaks to who we are. And thirdly, let’s see what’s coming from the new collection!
Your namesake brand hasn’t been in the spotlight for what feels like 10 years or more, but you’ve recently relaunched it. What sparked the decision to go again in 2026?
It’s been 30 years since I first started this journey. It’s not that we ever fully stopped, but reaching that milestone felt like the right moment to pause, reflect on where we’ve been and look at what comes next. Revisiting the brand now just felt natural; tapping back into the archive, reconnecting with the foundations of what we built and thinking about how to push it forward in a new way. And, honestly, I’m excited for what’s to come.
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