For people who have always felt connected to the looks and the stories they’ve told, Homies are a look book of art, culture and fashion.
Style has always been a visual language, one we use to communicate certain aspects of ourselves, our backgrounds, our beliefs. Goths. Rockabillys. Skaters. Punks. A person or a group can say something important about their social world and values without ever uttering a word. A look can say everything or nothing.
It’s no surprise that the looks Homies depicted hold up today. The kind of style captured by Gonzales had a timeless quality to it, feeling both of the past and of the future. Like it predicted that we’d all be again reaching for clothing three times our size in 2022. We’ve seen the style transcend time and space precisely because it’s connected to culture and lived experience, passed down from friends to friends, family to family.
For some, Homies remain an ode to Chicano beauty. Naysayers thought differently, and they made it known in the early 2000s. LAPD claimed Homies were glorifying gang life. Some cultural advocacy groups said they were reductive and relied too heavily on stereotype . Other critics called them exploitative. Gonzales remained steadfast in his response to these complaints through the years, that his creation was “a reflection of daily life.
Perhaps Homies is best understood as a look book of culture, with what Gonzales created being akin to other archival projects that have sprouted up in our more democratized internet era. For many contemporary artists and designers, documentation is grounding, a focal point from which to explore political themes, ideas, identities, style, narratives and more. Another archive of the Homies era is Veteranas and Rucas, artist Guadalupe Rosales’ longtime dedication to Chicanas in L.A.
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