The late 2010s was a clout-chasing warzone. Supreme x Louis Vuitton tracksuits flooded Instagram feeds, limited-edition trainers were being flipped for triple their retail value, and the line between high-end fashion and streetwear was getting blurrier by the day. Instead of a form of expression, streetwear had become a bigger flexing competition than the Mr. Olympia. Fast forward to 2025, and the hype seems to have settled. But has the scene really changed? Or is streetwear still just about hype and price tags?

Brands like Supreme and Palace – companies originally created for the tight-knit skateboarding crews of New York and London – suddenly found themselves as the face of mainstream streetwear, with their die-hard fans – dubbed ‘hypebeasts’ – going to extreme lengths to buy their rarest, most expensive products. But as time passed, and not to mention a global pandemic, the hype surrounding the top dogs was starting to wane. Certain labels had reached the peak of their popularity, and the kudos they were used to receiving had all but run out. “I think after a while the mystery just faded” says Leon Roberts – an ex-reseller and active skateboarder, who, like many others, realised the money making opportunity at hand.

“When Supreme released on a Thursday, everything would go in like two seconds. If you wanted any sort of chance at copping you had to have an autofill downloaded to enter your details because typing was too slow. It was this whole process that just added to the exclusivity and appeal of the clothes I guess. Whenever I managed to get a good order in, I’d list the items straight on Depop, ramp up the prices, and just wait for the offers to come piling in. I was never worried about it not selling because people were so obsessed with owning rare sh*t at the time. Looking back, it wasn’t a healthy time for streetwear, and it’s no surprise the whole thing burned out.” As Roberts points out, most of the excitement about these labels at the time was the thrill of the chase. Streetwear wasn’t really about fashion anymore, because commercialization had drained the soul right out of it, and a scene built on the foundations of counter-culture and individuality had become completely superficial. “Brands like Supreme and Palace are always going to be pioneers of streetwear, so I don’t want to make out like they’ve got zero appeal just because they don’t resell much anymore,” Roberts continued, “but I think part of their issue is that they’re sort of just permanently associated with flexing, which isn’t what they initially stood for. Knowing how to put together a genuinely cool outfit is what gets you more respect in streetwear nowadays, regardless of where the clothes are from. Just by looking at social media you can see there’s been a change, because loads of the content now is about thrifting and not spending money, which I suppose is a step in the right direction.” 

As suggested by Roberts, a clear way to observe the changing attitudes towards brand-obsession is by looking at what’s trending on social media. More and more streetwear influencers have adopted a style of content where money takes a backseat, to show their audiences how to take a more sustainable and affordable approach to fashion. One such influencer is Oliver Vost – a TikToker with over 170 thousand followers on his account @vostysvault. His page covers a huge scope of content, from outfit inspiration, to scouring car boot sales for hidden gems. Current Archive spoke to Vost about how consumer habits have started to change, and according to him, the growing popularity for newer, more affordable streetwear items, particularly trainers, shows a clear shift away from the hype-obsession witnessed in recent years. “People don’t want to pay north of £400 for a shoe that’s released for £180 anymore,” explained Vost. “The mass consumer interest shifted elsewhere. That’s why I believe P6000s and Vomeros are currently popular as they’re easily accessible and not reselling.” When asked whether exclusivity and the desire for rare pieces still plays a role in streetwear, Vost said “I think there needs to be a balance. I’d be lying if I said I haven’t shown off a few rare things, however I say ‘rare’ as a collector of Stüssy stuff, because people know I’m deeply interested and involved in the brand, however I make sure it’s a fragment of my content, and relatability is the priority.” Vost’s cost-friendly approach isn’t just purely innovative however – lots of his content ideas, such as his ‘budget-fit’ series, stem from a personal understanding that not all streetwear enthusiasts canbuy whatever they want, whenever they want. “I come from a working class background,” says Vost, “and I know that the majority of my viewers will be around 13 to 18 and don’t have influencer-type-money. Why should a 13-year-old feel pressure to wear £500 Acne jeans in order to feel valid? It’s not something I want to push on my channel. I pay homage to what fashion got me where I am, and people follow me for a particular style and type of content, so if I changed, what identity or style do these people follow me for now? It would be an illusion.” 

Thanks to influencers like Vost, the pressure of buying high-priced apparel to feel accepted has lessened. Streetwear no longer feels dictated by just a handful of brands, and now the possibilities for original and innovative design seem endless. To get an idea of just how much talent has been blowing up on the scene recently, Current Archive spoke to Kelly Acheampong, the founder of UNDISCOVERED – a digital platform dedicated to documenting upcoming streetwear brands from all over the globe. Boasting a healthy Instagram following of over 85,000, as well as more than 370,000 YouTube streams, UNDISCOVERED is going above and beyond to help ignite the careers of new creators. When asked what inspired him to start his platform, Acheampong said “I started with my own brands that didn’t go to plan, so UNDISCOVERED was my way of providing a solution to the problems that I faced, while also learning about the game.” Since starting out in 2019, Acheampong has covered more than 300 brands worldwide, and with new minds entering the scene by the dozen, we’re as far from a creativity deficit as physically possible. But with the sheer amount of newcomers, it unfortunately begs the question – is there enough room on the market for everyone? “I think the idea of streetwear being saturated shouldn’t even be a thought,” said Acheampong when asked if he considered this to be a problem. “Why does it matter? People are always looking for alternatives and they’re always looking for better. Both can be achieved. New ideas don’t always have to be a thing and you can stand out beyond just your products. As long as you’re making a brand with good messages that you stay true to, that’s all that matters.” Having experienced first hand what it’s like to have brands fail, Acheampong now operates under the philosophy that everyone deserves a chance, and it’s thanks to platforms like UNDISCOVERED that the streetwear scene is being provided with constant motion. But despite his ultimate mission being to shine the spotlight onto newer brands, Acheampong doesn’t forget to acknowledge and respect the labels that paved the way for modern streetwear: “I think they still have a place,” he began. “They inspire a lot of brands that are here today, and brands that are still to come. People still use Supreme and brands alike as a reference point or inspiration, so while they may not be as relevant, they’re a grail in streetwear.” 

As one of the most eclectic and multifaceted genres of fashion, streetwear will undoubtedly continue to grow and evolve. Supreme, Palace and brands alike will always have their place at the heart of the scene, but with influencers such as Vost reminding us that your style shouldn’t be dictated by the cash in your pocket, as well as platforms like UNDISCOVERED putting a steady stream of new designers on the map, it’s time to say goodbye to the elitist, hype-driven days that streetwear fell into, and instead start celebrating the love for individuality and creativity that we lost along the way, in hopes of recreating the diverse and accessible space that streetwear stood for in the first place.