5.3 ESSAY
INTRODUCTION
Clint419, real name Clint Ogbenna, is the CEO of Corteiz, a streetwear clothing brand that started up in 2017 (Takanashi, L. 2023). Clint is also a designer and creative director. Mostly known for his clothing brand and big connection to the creative scene in the UK, he is also known for his raw, expressive and authentic personality on social media (Takanashi, L. 2023). He has made waves across the UK as one of the biggest of his kind with his guerilla style marketing, community
involved drops and his bold first come first serve style with his clothing brand (Takanashi, L. 2023). His work has had a massive influence on the clothing brand scene and youth culture in general (Takanashi, L. 2023).
EARLY LIFE & BACKGROUND
He was born in West London at Central Middlesex Hospital (Williams, E. 2023). Not so far from there is where he rented his first office, where he worked out of for Corteiz (Williams, E. 2023). Clint most definitely reached success in his later years, but it was not all rosy for him. At 20 whilst in his 3rd Year of University him and his family were evicted from their home after returning home from his grandma’s funeral in Nigeria (Dazed Digital, 2023). He later moved in with his sister and stayed in the living room. Where the creative process of Corteiz began. Clint was heavily influenced by grime, UK rap and estate culture which also ties in heavily to his brand (Williams, E. 2023).
FOUNDING OF CORTEIZ (2017–)
Clint founded Corteiz in 2017, which he started independently and completely self-funded (Takanashi, L. 2023). Clint set a trend that later echoed in streetwear brands that were dropping clothes which was to create a site that couldn’t be accessed unless the customer has gotten the password (Takanashi, L. 2023).
Instagram posts that tied into this member-only feeling and word of mouth were the main ways that Corteiz got traction early on (Foreversauce, 2020).
DESIGN PHILOSOPHY AND VISUAL IDENTITY
The main logo used on his brand features the Alcatraz island, which is a small island in San Francisco Bay and mostly famous for being a where a former maximum-security prison was once held (Takanashi, L. 2023).The pieces that Clint releases tend to have a rough unpolished edge to them a grittier influenced by the working-class lifestyle and UK street culture look which appeals to his customers (Foreversauce, 2020). Another key part of Clint’s brand is how he releases his drops around events and not seasons like a lot of the bigger fashion powerhouses (Hypebeast, 2023).
CAMPAIGNS AND COLLABS
Clint's campaigns and collaborations and connections have been his wow factor in his journey to the top, he ties to 2 of the biggest rappers in the UK in Central Cee and Dave who have worn his clothes in multiple music videos (Complex UK, 2024). He has managed to gain an audience not just in the UK but all over the world because of his eye-catching campaigns such as the “great bolo exchange”, a campaign where a mystery location was revealed to his followers in which they.
Would rush to get to and customers would have to exchange their designer jackets to get their very own Corteiz jacket (Davey, 2022). The success of this campaign made rounds on social media pushing Corteiz further into the limelight (Highsnobiety, 2023). Clint also partnered with Nike to execute one of the biggest streetwear drops in recent years (GQ Magazine, 2024). Releasing a version of the Airmax 95 that would go on to be huge international success (GQ Magazine, 2024). That collaboration really stamped Clint and his brand Corteiz as one of the greats.
REFERENCES
Davey, J. (2022) ‘Corteiz BOLO Exchange: How Clint's Jacket Swap Took Over London’, Complex UK, 10 March.
Available at: https://www.complex.com/style/a/jacob-davey/corteiz-bolo-exchange (Accessed: 27 November 2025).
Foreversauce (2020) ‘Greatest Shit – Clint419’, Foreversauce (WordPress blog), 8 April.
Available at: https://foreversauce.wordpress.com/2020/04/08/greatest-shit-clint419/ (Accessed: 27 November 2025).
GQ Magazine (2024) ‘Corteiz x Nike Air Max 95 “Tour Yellow” Drops in 2024’, GQ, 12 January.
Available at: https://www.gq-magazine.co.uk/article/corteiz-nike-air-max-95-tour-yellow-2024 (Accessed: 27 November 2025).
Highsnobiety (2023) ‘Where to Buy Corteiz: The Best Places to Find CRTZ’, Highsnobiety, 12 April.
Available at: https://www.highsnobiety.com/p/corteiz-clothing-resale-buy-online/ (Accessed: 27 November 2025).
Takanashi, L. (2023) ‘Corteiz: Everything You Need to Know About the UK Streetwear Label’, Complex UK, 15 February.
Available at: https://www.complex.com/style/a/lei-takanashi/corteiz-streetwear-everything-to-know (Accessed: 27 November 2025).
Williams, E. (2023) ‘Clint Rules the World: Inside the Rise of Corteiz’, Dazed Digital, 22 March.
Available at: https://www.dazeddigital.com/fashion/article/58417/1/clint-rules-the-world-corteiz-interview-spring-2023(Accessed: 27 November 2025).
ARGUMENTS
Clint419, is one of the most successful creatives in the UK at the minute which is a key reason I would like to focus on him because as successful as he is, he is also a black creative from the UK which is already a big influence in his work as well as his working-class background. His work is very significant in the theme of underrepresentation because as well as being from those backgrounds he has also embraced them in the identity of his brand (The Next Cartel, 2022). His use of guerrilla marketing, and unique pop ups and creative ideas has allowed him to reach successful levels business wise in the fashion industry which massively reshape the narrative of who can achieve things like this because traditionally it isn’t people who look like Clint (Oxford Saïd Business School, 2023). My essay will focus in on how his work connects to representation and class
REPRESENTATION
Clint419 is not your average CEO, A major part of his character is who he represents for some people it his wow factor, it’s what makes him appeal to the working-class youth that subscribe to so many of his pop ups and events. In fashion Corteiz is really in a league of its own in the way that it speaks to people without words. It connects with people through the sheer image of the brand. The lookbooks are not shot in a studio setup with perfect lighting, it is shot on the street with dark, gritty and grungy aesthetics which is just one way it reminds people of how they grew up and connects with people on a deeper level. Berger’s
Idea that ‘’seeing comes before words’’ (Berger, 1972) explains why Corteiz’s representation matters, People will see themselves in the work before anything is even said, it’s tied into the DNA of Corteiz and how they market their collections. Corteiz builds a sense of belonging for communities who rarely feel seen in fashion (Hypebeast, 2023). Clint’s approach challenges the traditional approach to who gets represented, it flips the script. It deviates from typical corporate narratives.
CLASS CHALLENGES
Another important aspect of Clint’s journey is how his journey reflects the challenges that working class creatives may face in the UK. The design and fashion spaces are typically dominated by people with more financial backing and friends and support in the industry. According to Oxford Saïd Business School (2023), Black-owned or working-class-led businesses represent a very small percentage of the UK creative economy (Oxford Saïd Business School, 2023). Clint did not come from an affluent background in terms of class. In his 3rd year of university, him and his family were evicted from their family home and Clint was forced to live in his sister’s living room where he slept on the couch (Dazed Digital, 2023) a big contrast to how most brands start. His methods of getting Corteiz out them reflect class politics. His drops rely heavily on community and not paid ads. His visuals embrace a more gritter and unpolished look a heavy contrast from corporate setups. Craig Oldham’s ideas about valuing working-class labour in the creative industries help explain Clint’s approach it proves skill, authenticity, and culture can outrank privilege. Clint’s success challenges long-standing class barriers in design and shows how working-class creativity can redefine cultural influence.
REFERENCES
Berger, J. (1972) Ways of Seeing. London: BBC & Penguin Books.
Hypebeast (2023) ‘Why Corteiz’s Rise as a Streetwear Powerhouse Was Inevitable’, Hypebeast, 14 February.
Available at: https://hypebeast.com/2023/2/why-corteizs-rise-as-a-streetwear-powerhouse-was-inevitable (Accessed: 27 November 2025).
Oxford Saïd Business School (2023) ‘Counting Black in Business’, Oxford Answers, 18 October.
Available at: https://www.sbs.ox.ac.uk/oxford-answers/counting-black-business (Accessed: 27 November 2025).
The Next Cartel (2022) ‘Why Corteiz Is What Streetwear Was Always Meant To Be’, The Next Cartel, 14 July.
Available at: https://thenextcartel.com/observatory/why-corteiz-is-what-streetwear-was-always-meant-to-be/(Accessed: 27 November 2025).
