It was a comment that sent a ripple of confusion through the fashion world. When Brendon Babenzien, the founder of NOAH and the former creative director of the undisputed king of streetwear, Supreme, went on the Cutting Room Floor podcast in April, his statement was blunt. “NOAH’s not a streetwear brand,” he deadpanned. “Not in a million years.” The reaction was one of collective bewilderment. How could the man who helped build Supreme, a brand with deep roots in skate culture that sells a healthy amount of graphic apparel, so forcefully reject the very label that seemed to define his world?
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Now, with the release of its Fall/Winter 2025 lookbook, NOAH has presented its official closing argument. Suitably titled “Return to Analog,” the collection is a tangible ode to a bygone era of tangible things—a world of landline phones, typewriters, and thoughtfully made clothing. It is, in essence, the antithesis of the fast paced, collaboration centric, and hype driven cycle often associated with modern streetwear. This is NOAH’s manifesto for slow fashion. “In a world obsessed with speed and convenience, there’s something radical about the slow and thoughtful,” Babenzien said in a statement. “We apply this same thinking to how we approach our clothes: every fabric we choose, every construction decision we make, it’s all rooted in the belief that quality matters.”
The collection itself is a testament to this philosophy. The 40 look offering is a gently modernized take on menswear classics, steeped in retro Americana. There are preppy button down collar shirts, relaxed tweed suits, urbane wool coats, and classic rugby shirts, all crafted from organic fibers and materials sourced from time honored European textile manufacturers. These are the kinds of clothes that have been core to NOAH’s identity since its rebirth a decade ago, but presented now, in the wake of Babenzien’s comments, they feel like a deliberate line in the sand.
Of course, the debate is not so simple. The case for labeling NOAH as streetwear is strong. Babenzien’s own resume, the brand’s active interest in skateboarding, and its consistent offering of printed T-shirts and hoodies all point to the genre. But then again, how many streetwear brands operate a separate outpost dedicated to tailoring?
Perhaps the issue is not with NOAH, but with the term “streetwear” itself. What does it even mean in 2025? Is it an aesthetic? An attitude? Has the word become so diluted by its own success that its original pioneers, like Babenzien, no longer see their work reflected in it? He seems to define it as something ephemeral and trendy, and by that logic, NOAH’s focus on sustainability and timeless quality is a clear attempt to offer the opposite. While the debate over the definition is likely to continue, it is clear that Babenzien and a growing number of brand founders are choosing to put as much air as possible between their work and the label. With “Return to Analog,” NOAH is not just selling clothes; it is selling an ideology.
