The Lowdown on UNDEFEATED Vol. 2 – An interview with UNDEFEATED Creative Director Chris Gibbs

The Lowdown on UNDEFEATED Vol. 2 – An interview with UNDEFEATED Creative Director Chris Gibbs

UNDEFEATED continues to lead the charge in street culture. At the helm of its creative direction is Chris Gibbs, globally recognized as the owner of the iconic Los Angeles select shop, UNION. Deeply involved since the brand's formative years and considered a member of the "family," Gibbs offers a unique perspective on UNDEFEATED's evolution. We recently sat down with him for this special interview in Tokyo.

What is the unique viewpoint connecting these two top brands? What inspiration does he draw from the land of Japan? And what future does he envision for the brand as its Creative Director? Through his words, we unravel the next chapter of UNDEFEATED.


UNION and UNDEFEATED are two iconic shops symbolizing the LA street scene. How did your unique career connecting both begin?

"It's a long story, but I'll keep it short (laughs). My career started in 1996 when I began working at UNION in New York. Then, in 2003, I moved to Los Angeles. Interestingly, the first place I worked in LA wasn't UNION, but actually UNDEFEATED. They were opening their Santa Monica location, the second store, and Alex Bruzzi and I launched it together. Since the La Brea store was the core spot, we really wanted Santa Monica to be more of a local, neighborhood spot. We embraced the Venice beach culture, and it was a lot of fun. We had a great squad. We used to compete with the La Brea store for numbers. About a year later, Supreme was about to open in LA. Berto, who was at UNION, went to Supreme, and that led to me moving from UNDEFEATED Santa Monica back to UNION. I've been at UNION ever since. However, I've always maintained a 'family' relationship with UNDEFEATED since I moved to LA in 2003. I was always helping out with design, creative direction, photoshoots, whatever – just part of the family."

Having been involved as UNDEFEATED "family" for many years, how did you come to take on your current role as Creative Director?

"Actually, when I first moved to LA around 2003, Eddie Cruz offered me the General Manager job for Stussy, UNION, and UNDEFEATED. It seems he envisioned me being in a creative director role at UNDEFEATED even back then. But as the owner running UNION day-to-day, I felt I couldn't do both and kept declining. Whenever Eddie or James (Bond) brought it up, I'd kind of brush it off like, 'Ah yeah, you guys aren't really serious.' (laughs). But then one day, they cornered me and said, 'No, we are serious. We really want this to happen.' So, we worked out a way for me to do both, and that's how I ended up in my current position. My role at UNDEFEATED has evolved. In the early days, I was involved in projects like the Shemagh design (Editor's note: Referring to early projects Gibbs contributed to, notably known for models using distinctive patterns, such as the UNDEFEATED x Nike AIR FORCE 1 LOW INSIDEOUT 'PURPLE' released in 2006) and helped out occasionally. About seven years ago, I officially joined the team, initially as 'Head Designer,' mainly overseeing product design coming out of LA – shoe collaborations, apparel. Then, about a year ago, my title changed to 'Creative Director.' Now, I don't design directly but primarily oversee the design team. So, my current role is probably closer to a 'Design Director'."

As the owner of UNION and leading creative at UNDEFEATED, how do you approach and differentiate between the two brands?

"At UNION, I have the final say on anything creative – from the store's look to packaging and ad campaigns. I'm not the one executing, but I set the overall direction. UNION is more 'fashion-forward,' and honestly, it's a place where my personal sensibilities and experiences are strongly reflected. On the other hand, I see UNDEFEATED as a more 'universal' brand. The keywords are 'sport,' 'classic,' 'rebellious,' 'contrary' (to the status quo), and 'passion.' Unlike UNION, I consciously try not to infuse my personal sensibilities into UNDEFEATED. While my focus is on design direction for products, we emphasize a 'team approach' across the board, including marketing. It has a team atmosphere, much like a basketball or soccer team, where everyone collaborates. Having been part of the family for so long, I feel I understand the brand's DNA, and navigating these different roles feels quite natural."

You've visited Japan frequently over many years. What specifically is it about Japan that continues to draw you in so strongly?

"I think the first time I came here was 1999. Since then, I've been completely captivated by the culture here. What struck me first was the 'attention to detail and quality' at all levels. Where I'm from, you typically find that mainly in luxury spaces, but here in Japan, I saw the same level of care even in more everyday, blue-collar type products. Also, the 'curation' shown by Japanese shops and their 'respect' for the product. Back then (late 90s-early 00s) in the American streetwear scene, t-shirts were often just crammed onto racks. But in Japan, even a t-shirt or a baseball cap was treated with care, almost like a luxury item, with its background and value presented thoughtfully. That approach was a huge inspiration later when we were developing sneaker boutiques like UNDEFEATED."

Following on from the respect and curation you observed, how does that translate into the actual design language you see in Japan? What inspires you about it?

"I'm constantly inspired. I've been coming here for over 25 years, sometimes four times a year, and I always find something new. When I explain the uniqueness of Japanese design, I often use the 'alphabet' metaphor. American, French, and Italian design, you could say, are different languages (English, French, Italian) but essentially use the same alphabet (A, B, C...). They combine the same letters differently to create different words and sounds. But Japanese design uses a fundamentally different 'alphabet,' literally like Hiragana, Katakana, and Kanji. So, when a Japanese designer takes on, say, an American military pant, they view it from a completely different dimension, understand it differently, reinterpret it, and create something entirely new and revolutionary. It’s not just a different language; it’s a fundamentally different perspective. On this trip, I saw a brand that made a vintage-looking military BDU shirt out of silk, using a special wash to give it a unique texture. That's the kind of thinking you don't often encounter in American or European design. This unique perspective born from a 'different alphabet' is what fascinates me endlessly."

What do you think allows such original design to not only be created but also embraced in Japan?

"The existence of amazing design is special in itself, but equally important is the presence of a 'market (consumers)' that understands, appreciates, and supports that design by purchasing it. No matter how original and excellent a design is, if no one buys it, it can't survive as a business and will eventually disappear. I believe Japanese consumers truly understand the value of what designers create and the attention to detail involved. That's probably why many international brands also find success here. The creativity of the designers and the understanding of the consumers who support it – I think it's this combination of two sides, the 'yin and yang' if you will, that enriches the Japanese fashion scene."

Do you feel your own creative approach and focus on process resonate with the Japanese market? If so, why?

"Perhaps it's because I personally value the 'process' over the 'outcome.' And I believe that Japanese consumers, more than any other consumers in the world, understand and appreciate that 'process.' When they buy a product I've designed, of course, the aesthetic appeal is a factor, but I feel they also perceive the story behind it, the thought process, and the effort involved in its creation. When I design something, I start from the perspective of a consumer. 'What would I want?' 'What details would attract me?' Then I value the process of arriving at that answer, ensuring everything from the initial idea to product design and marketing forms a coherent story. I draw inspiration from what's happening on the streets, the movements in culture, and translate those ideas into products – a sort of 'street-up' or 'bottom-up' approach. If this honest, grounded commitment to the process is why people in Japan connect with what I do, I'm truly happy."

Considering the current streetwear scene, in what direction do you, as Creative Director, want to lead UNDEFEATED?

"This might apply to the streetwear industry as a whole, not just UNDEFEATED, but I think streetwear became so popular in recent years that it kind of lost its way a bit. In a situation where everything seemed to work, maybe we expanded too much and strayed a little from the brand's core. So, what we're aiming for now at UNDEFEATED, and what we've already been working on for the past year and a half to two years, is a 'return to our roots.' We're refocusing on the core questions: 'Who are we?' 'What is the ethos of UNDEFEATED?' It's not a future goal but something already in progress, and it should be starting to show in our products and marketing. For example, streamlining the number of stores in Japan was part of that. We're concentrating on quality over quantity, on clearly communicating the brand's ethos."

Is there a core philosophy or way of thinking that guides the brand and that you share with the team?

"There’s a phrase we often use around the office: 'Sometimes you have to lose before you can become undefeated'. Nothing is truly undefeated in reality, right? Every success involves failures and mistakes along the way. Despite the brand name UNDEFEATED, we value learning from those mistakes and using them as fuel to become better. That philosophy is what's driving us forward right now."

Finally, could you recommend any particular items or ways to enjoy the Summer collection for fans in Japan?

"Asking a designer what his favorite pieces of any season are is like asking a mother or father to choose their favorite kid—it’s just not possible. I love it all.

That said, I will share some highlights:

I think one of our best pieces is this baseball shirt we made. The fabric, fit, and branding all aligned to make a truly special piece. We hit the “Goldilocks” zone—it’s just right.

For Summer 25, we genuinely dug back into our roots and ethos as a sportswear brand. I am proud of how we stayed true to who we are and truly concentrated on making authentic “UNDEFEATED” gear, like the basketball warm-up pants and shorts and the lightweight nylon tracksuit, along with some high-quality jersey and fleece options.

We made a conscious effort to go back to basics with this collection, and I think it worked out well.”