Michael Dupouy

MICHAEL DUPOUY : 

I’d describe myself as someone passionate who has always tried to make a career out of those passions.

MICHAEL DUPOUY : 

I began writing about this culture at the beginning of my journalism career, when it was still quite confidential and reserved for a niche public. With the rise of social media in the early 2000s, many forecast the imminent end of print media, and so that of magazines and fanzines-formats that had actually been my way of exploring and appreciating this culture while contributing to its growth.

I never bought into this idea of utter disappearance. Rather than launching yet another monthly magazine, the idea behind All Gone was to document and spotlight the most influential elements making up street culture: exclusive collaborations as well as items that had become cult favourites. The aesthetics had to match these pieces, so it was important to highlight them through a curated combination of text and images. 

Since 2006, All Gone has been published every year, gradually evolving into a collector’s item, an almanac, and even an encyclopaedia for some. Unlike online media, which is a great tool to communicate about the latest releases, a book captures what has already happened, freezing it in time. Try asking Google to name the most memorable products of 2006… That’s what All Gone is all about.

MICHAEL DUPOUY : 

Not really. It’s more about the documented objects, these unique pieces that disappear from the shelves minutes after being released.

MICHAEL DUPOUY : 

I wouldn’t go as far as that. For exactly 18 years, All Gone has been creating a chronological archive embodying the energy, dynamism and constant evolution of this culture—which has grown from an underground movement to the world’s most consumed global phenomenon in just three decades.

Every year, All Gone explores why and how these objects from street culture have become iconic pieces while giving voice to key players and unveiling the stories hidden behind each product, that is, the guests artists, launch venues, key dates, etc.

MICHAEL DUPOUY : 

The most significant change in these 18 years remains the transition from niche culture to mass culture. This democratisation has been accelerated by a growing number of collaborations with luxury brands, which have broken down the barriers between ‘street’ and ‘luxury’, between ‘street’ and ‘fine art’, to the point where today the term ‘street’ could be replaced by ‘pop’.

Street culture has become pop culture because it has found its way into every layer of our society. Its dress codes, language and aesthetic are no longer outcast elements: they have become predominant.

MICHAEL DUPOUY : 

Yes, absolutely. This is the first time since I first wrote the All Gone introduction that my optimism has been tempered. For almost 20 years, street culture has defied economic crises, thriving against all odds. In 2024, however, street culture faced a first real blow: a significant economic setback and a decline in interest from part of its audience.

A complete reset is essential to restore its energy, its dynamism and its most loyal community.

MICHAEL DUPOUY : 

Mobile phones and social media have standardised tastes, making them increasingly tame. Street culture has become screen culture. My introduction in an old All Gone was a nod to Snoop Dogg’s legendary ‘rolling down the street’, which I adapted to ‘scrolling down the street’, and that wasn’t a good omen.

Developing a sense of individuality in your choices of music, clothing, film and food has become a challenge, yet it is essential if you want to stand out from the crowd. You have to break away from algorithmic trends, go somewhere no one recommends, travel without a set plan, and take spontaneous decisions.

In other words: cut yourself off from the noise and trust your instinct, find your own point of view, stick to it and move forward regardless of what the herd is doing.

MICHAEL DUPOUY : 

We already sort of addressed the issue above, so let me just disagree with your observation, I don’t think it’s entirely accurate. All Gone also documents many independent brands that are often overlooked by mainstream media. Here they find both recognition and a platform to raise their voices.

Naturally, there are some key players who are shaping the market and grabbing a great deal of attention, but you just have to browse through the book to see that there’s also plenty of up-and-coming new talent. For instance, this issue features Esperanza Rosas, aka Runsy Studios, who makes her debut this year, but also Caroline Hu, and the collaboration between Kids of Immigrants and Nike. 

Nowadays, street culture has become a global phenomenon with colossal financial impact. And yet, at All Gone, we’re committed to ensuring a place for the new generation and the outsiders who are pushing the boundaries.

MICHAEL DUPOUY : 

In 2024, Au Départ had… a new ‘departure’. Thanks to Hiroshi Fujiwara, the godfather of Japanese streetwear, the brand took on a new and refreshing dynamic, focused on establishing a closer connection with its time and the culture around it.

We’re very proud to have All Gone working closely with a label so rich in heritage. The book is also a French object, designed and printed in Paris, but distributed in the four corners of the world: from Mexico to Taiwan, as well as Japan and Kuwait. For years, book signings have been held on several continents, from Seoul to Mexico City.

The synergies between Au Départ and All Gone were therefore natural. For 2025, the brand’s historic monogram embellishes our cover, sealing this alliance between tradition and modernity, and that makes me utterly satisfied.