Supreme and Spike Lee’s 40 Acres join forces to celebrate Malcolm X and Clockers.
Supreme’s latest capsule collection steps straight out of Spike Lee’s film archive, landing on shop rails with the same sense of purpose that powers his movies. The New York label enlisted 40 Acres and a Mule Filmworks—the production company Lee founded with Monty Ross in 1979—for a line that honours two milestones in the director’s catalogue: Malcolm X and Clockers.
The partnership traces a long back-and-forth between Lee’s studio and street style. After his 1986 debut She’s Gotta Have It announced a new Brooklyn voice, Lee folded the 40 Acres name—taken from the post-Civil War promise left unkept—into commercials, music videos and, by 1990, apparel. That summer he opened Spike’s Joint in Fort Greene, followed by a Melrose Avenue spot and a kiosk at Baldwin Hills Crenshaw Plaza in ’92. The shops stocked varsity jackets, sweaters and the now-famous X cap tied to Lee’s Malcolm X biopic.
Supreme revisits that moment with a five-piece drop scheduled for April 24 (April 26 in Asia). A varsity jacket leads the set, its wool-and-leather shell stamped with a circular 40 Acres patch and Supreme script on the chest. Turn it over and a stark white “X” spans the back—an unmistakable cue to Lee’s 1992 portrait of the civil-rights leader. A pin-striped baseball jersey follows the same playbook: patch on the front, block “Supreme 40” lettering on the reverse, as if Malcolm had just been called up to Yankee Stadium.
The capsule’s two T-shirts keep the references literal. One plants a well-known photo of Lee, camera in hand, square at chest level. The second repeats the oversized “X,” pared back to graphic form. Rounding out the offer, a six-panel cap lifts the Clockers logo, placing it high on the crown like a subway-tile tag.
Lee’s films balance protest with pop culture, and Supreme mirrors that mix—archival storytelling cut to a street-ready silhouette. The result feels more conversation than commodity: a short run that lets fans wear a slice of cinema history without the fuss of museum glass.
