The Evolution of $uicideboy$ T-Shirt Designs: A Visual History
Since their formation in 2014, the New Orleans-based rap duo $uicideboy$ (stylized as $UICIDEBOY$), comprised of Ruby da Cherry and $lick Sloth, have cultivated a cult-like following. Known for their dark, introspective lyrics that blend themes of depression, addiction, and existential dread with trap and punk influences, the duo has extended their unique aesthetic into a compelling line of merchandise — particularly their T-shirt designs. More than mere promotional items, $uicideboy$ T-shirts have become wearable expressions of the duo’s evolving artistry and message. Over the past decade, the progression of their T-shirt graphics reflects both their growth as artists and the cultural trends that have shaped the underground music scene.
2014–2015: DIY Aesthetics and Underground Roots
In their early days, suicideboys merch echoed the gritty, raw sound of their music. The first wave of T-shirt designs were heavily influenced by punk rock and metal scenes. These shirts often featured lo-fi, black-and-white graphics, distressed fonts, and stark imagery — skulls, inverted crosses, grim reapers, and handwritten or scratchy typography. Many designs looked as though they were photocopied zine covers printed onto cotton. This aesthetic resonated with fans drawn to the duo’s rejection of mainstream polish in favor of brutal honesty and anti-establishment messages.
The shirts from this period were often sold in limited quantities through independent online storefronts like Big Cartel or self-hosted sites. This scarcity only increased their desirability among early fans. The imagery also drew inspiration from vintage horror movies, obscure manga, and gothic art, appealing to those on the fringes of both hip-hop and alternative subcultures.
2016–2017: Rise of G*59 and Expansion of Iconography
As the $uicideboy$ profile grew, so too did the production quality and range of their merchandise. Around this time, G59 Records — the duo’s independent label — began to feature prominently on their clothing, establishing a unified brand identity. T-shirts began incorporating bolder colors, cleaner prints, and slightly more refined layouts, though they still maintained their grim themes. The G59 logo, often stylized with occult or gang-inspired elements, became a recurring feature.
Designs during this era included variations of classic $uicideboy$ motifs: distressed photos of the artists, upside-down crosses, pentagrams, and provocative slogans such as “I Want to Die in New Orleans,” referencing their eventual 2018 album. The shirts became more than band merch — they were statements of identity for fans struggling with mental health or disillusionment with society. The use of Old English fonts, death-metal style logos, and references to New Orleans culture anchored the visuals in both personal and regional authenticity.
2018–2019: High Production, Streetwear Influence
Following the success of their debut studio album I Want to Die in New Orleans, $uicideboy$ began partnering with more established merch distributors, leading to better fabric quality, improved screen printing, and expanded sizing and cuts. Their T-shirts became more aligned with the aesthetics of contemporary streetwear — oversized fits, garment-dyed fabrics, and layered designs began to appear.
Designs still retained the grimy aesthetic but started integrating more color and abstraction. Collaborations with underground visual artists and tattoo-style illustrators brought new perspectives to the brand. Popular shirts featured elements like 3D text, flames, neon colors against black backgrounds, and apocalyptic religious iconography. The increasing popularity of the vaporwave and glitchcore visual movements also started to subtly influence the designs, adding a digital disintegration to formerly analog styles.
At the same time, $uicideboy$ began releasing seasonal drops, creating a sense of fashion-forward exclusivity. Fans no longer bought T-shirts just to support their music — they collected them as limited edition items, much like Supreme or BAPE.
2020–2021: Pandemic Introspection and Minimalism
During the global pandemic, $uicideboy$ took a more introspective creative direction — a shift that was mirrored in their merchandise. T-shirts from this period began to incorporate minimalistic and symbolic designs. Instead of chaotic collages and text-heavy layouts, shirts featured cleaner iconography: a single rose, a hand-drawn face, or cryptic phrases written in simple font.
This period also saw an increased focus on quality over quantity. With tours postponed and live sales reduced, $uicideboy$ and G*59 concentrated on limited online drops with high-demand, exclusive pieces. Black and white remained dominant, but muted tones — grays, washed browns, and deep purples — began to replace the harsh blacks of the early years. Some designs even leaned into spiritual or mythological imagery, reflecting the duo’s evolving lyrics about recovery, identity, and mortality.
2022–2024: Artistry, Collaboration, and Mainstream Integration
With the rise of mainstream recognition, $uicideboy$ began collaborating with other artists and brands more openly. T-shirt drops during this time occasionally featured guest designers — visual artists from tattoo culture, anime fandoms, and graphic novel illustrators. One notable direction was the fusion of Japanese ukiyo-e art with modern horror motifs, combining Eastern and Western aesthetics in striking ways.
The iconography of their older designs — like skulls and reapers — remained, but was often stylized in new ways, such as vibrant embroidered patches or screen prints with a painterly finish. The logos of G*59 also underwent stylization, appearing in graffiti tags or stitched in gothic calligraphy.
Many fans began to see these shirts not only as merch but as legitimate fashion pieces, worn outside of shows and concerts. Their designs frequently incorporated contemporary cultural references — such as pixel art, AI-inspired distortions, and homage to 90s internet culture — while still staying true to the melancholic, rebellious heart of their brand.
2025 and Beyond: Sustainability and Digital Expansion
Most recently, $uicideboy$ have begun experimenting with more sustainable merchandise. Organic cotton, recycled packaging, and limited-run eco-friendly dyes have become a part of their merchandising language. With the growing awareness of fashion’s environmental impact, this move aligns with the values of their fanbase, many of whom are deeply connected to underground DIY ethics and modern activism.
Additionally, their merch team has hinted at digital fashion ventures — with talks of NFT-based wearable art and metaverse-integrated designs. Though still in early stages, this suggests a merging of the $uicideboy$ aesthetic into both physical and virtual realms.
Conclusion
The evolution of $uicideboy$ T-shirt designs is a mirror to their journey as artists and cultural icons. From gritty DIY shirts sold out of bedrooms to polished, collaborative, streetwear-infused pieces, each design era has carried the essence of their music: raw, real, and resonant. As they continue to innovate, their T-shirts remain more than just merchandise — they are artifacts of underground rebellion, worn like armor by fans who find solace in the shadows.