Case Studies

Co-founded by myself and Travis Warner, Newaza Apparel began its journey with a distinct punk rock energy, taking joy in parodying recognizable brands into jiu jitsu-themed apparel. Each cease and desist we received was celebrated, a testament to our unyielding and anarchic creativity. As we evolved, we introduced psychedelic-patterned compression gear and the now-iconic 'In Jiu Jitsu We Trust' shirt, setting new trends in the jiu jitsu world. Our partnerships were as unique as our designs, sponsoring budding fighters from the 10th Planet gyms, including the remarkable Tony Ferguson. The brand's crescendo culminated in designing innovative gi's, collaboration with Scramble, establishing a distributor in Europe, further amplifying our industry impact. From designs to collaborations, every step reflected a meticulous quality control and a vision that dared to defy norms. "We've got you covered from the ground up".

Ne-wa’za, nā-wä-zä, 寝技 [Ori. Japan] n. 1. Ground technique; matwork 2. ’ne’; lying ‘waza’; technique 3. Introduced to Brazil in 1914, the Kodokan judo techniques one uses after competitors are taken to the ground via takedown, throw, sweep, etc.

From the outset, my vision for Newaza Apparel was to craft something athletic, symbolized succinctly as 'NA'. The inaugural design was the 'NA' monogram, rendered in a timeless varsity style, a nod to the roots of numerous sports in the United States and emblematic of the birth and evolution of a new sport within the nation. This design was a homage to the origins and traditions of American sports, symbolizing the inception of a novel sporting discipline in the country.

Subsequently, I developed the widely recognized wordmark for Newaza. Drawing inspiration from Carolyn Davidson’s iconic work for Nike, I opted for a bold, italicized 'Impact' style typeface. My ambition was to project Newaza towards the future of the sports industry, aligning its identity with the global pioneers and leaders of sportswear. This juxtaposition of traditional and modern elements in the branding aimed to encapsulate the essence of Newaza, bridging the past and the future of athletic design.

Drawing inspiration from skate culture and the punk and hardcore scenes, we infused our designs with parodies that earned us numerous cease and desist orders, which we wore as badges of honor, symbols of our anti-establishment, counter-cultural ethos. Jiu-jitsu itself is a martial art that defies the norms of conventional fighting styles, prioritizing control over harm, and submission over injury. It’s a discipline where chokes are applied to make opponents tap out or lose consciousness temporarily, not to inflict lasting damage.

We aimed to mirror this unique, non-aggressive philosophy in our designs, creating pieces that provoked thought and elicited laughter, resonating with the distinctive mindset of jiu-jitsu practitioners. And even some tattoos! Integrating elements from streetwear culture, our range included mostly tees, hoodies, and hats, which gained international distribution. From Tapatio and In-N-Out to Beavis and Butthead, The Ninja Turtles, MTV, King of the Hill, Garbage Pail Kids, and Supreme, our irreverence knew no bounds; no pop culture references were left unturned.

In the predominantly masculine and rugged realm of jiu-jitsu, where fighters are perceived as tough individuals, the prevailing aesthetic was stark and utilitarian, with designs predominantly in basic shades of black, grey, and blue, reflecting a straightforward, business-like ethos. This minimalist approach also dominated gi designs, primarily seen in white, with occasional black and blue variations.

In contrast, I aspired to disrupt this monochromatic landscape by introducing a palette bursting with vibrant and unconventional colors like shades of pinks, aiming to create designs that were as visually striking as they were psychedelic. Our main culture was within the 10th Planet schools, led by the renowned Eddie Bravo, a passionate advocate for marijuana, psychedelics, meditation, and UFO's from California. His students, our primary clientele, often embraced training under the influence to attain a heightened, fluid state of mind, and sought visual stimuli that resonated with their enhanced perceptions.

My designs were meticulously crafted to meet this need for visual stimulation and flow, creating pieces that would not only capture but also sustain attention. By incorporating optical illusions and maximizing the capabilities of sublimation printers, we pioneered a revolutionary aesthetic in the industry, transforming the visual language of jiu-jitsu apparel.