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Loop Garms, 635 Veerasamy Road #01/148, Singapore (2026)

06/09/2026

BLEACH ended in 2016. Yesterday, it reached ‘THE END’ again.

Kubo Tite concluded the manga on August 22, 2016, closing a fifteen-year run in Weekly Shonen Jump. Four months later, this event-exclusive tee was released for Jump Festa 2017, held at Makuhari Messe on December 17 and 18, 2016.

Shueisha’s annual celebration brought its Jump titles together through stages, announcements, exhibitions and exclusive merchandise. This tee arrived as BLEACH stood in a strange space between endings: its manga had just closed, while its final arc remained unanimated.

The front centres Kurosaki Ichigo within a dense composition of blade and body. It returns us to BLEACH’s enduring centre: Ichigo moving towards an ending that appears larger than he is.

On the reverse, thirteen Shinigami portraits surround the words “13 BLADEs,” invoking the Gotei 13 and the many swords upon which Soul Society has always depended.

Nearly ten years later, it feels uncannily suited to Episode 47, “THE END 2.”

Ichigo’s Bankai cannot reach Yhwach. The boy who has faced every impossible enemy without surrender finally carries genuine despair in his eyes. Yhwach begins drawing out the Quincy and Hollow powers within him, leaving Ichigo emptied of the forces that once made him whole.

But while Ichigo can no longer see a way forward, everyone else keeps moving.

Kyōraku Shunsui rises again. Ishida Uryū turns the Antithesis against a future rewritten by The Almighty. Soul Reapers, Quincies and Arrancars act together to stop the destruction of the Three Worlds.

The front gives us Ichigo facing the end.

The back reminds us that he never had to face it alone.

BLEACH has always understood that strength eventually fails. Bankai can break. Power can be taken. Even the person who saved everyone can lose hope.

What remains are the people who refuse to let his despair become the ending.

BLEACH Jump Festa 2017 “13 BLADEs” event-exclusive tee

05/09/2026

For Series 2 of their 2011 collaboration, Stüssy and Marvel handed Artist Will Sweeney a universe of heroes.

He handed back the universe.

The Special Edition Artist Series invited nine international artists to revisit the Marvel characters that had shaped their childhoods and reinterpret them through their own visual language.

British illustrator Will Sweeney chose Eternity.

First officially appearing in Strange Tales #138 in 1965, Eternity is Marvel’s living embodiment of the universe. He does not occupy the cosmos. The planets, stars, lives and passing moments of that reality exist within him.

Sweeney transformed that impossible scale into something stranger and more human. His Eternity arrives as a horned, tentacled silhouette, holding up a peace sign while an entire universe curls across his body. Part cosmic deity, part psychedelic visitor, he resembles an ancient symbol recovered from somewhere beyond time.

Each purchase from the collaboration also came with a pack of Stüssy x Marvel trading cards while supplies lasted, extending the project beyond clothing into a small collectible universe of its own.

Beside a being made from everything that has ever existed, one life should seem insignificant.

Somehow, the opposite happens.

If the universe contains us all, then even the smallest parts of our lives become pieces of something that cannot entirely disappear.

2011 Stüssy x Marvel Series 2 Artist Collection “Eternity” tee
Artwork by Will Sweeney

04/09/2026

Time did not heal Punpun. It only showed him how much could be lost. So for the manga’s final volume, Inio Asano gave readers a watch.

For thirteen volumes, Oyasumi Punpun follows a child who believes growing up will eventually explain everything. Instead, the years lead him deeper into loneliness, obsession, guilt, and the wreckage of a promise once made with Aiko.

Punpun repeatedly changes shape as his inner world fractures, while life around him continues with an almost cruel normality. People leave. Dreams shrink. Childhood becomes somewhere he can remember, but never return to.

Released in Japan on 27 December 2013 with the limited edition of Volume 13, this original watch was designed by Asano himself. In place of ordinary hour markers, its dial is surrounded by familiar figures from across the manga, allowing Punpun’s story to continue marking time after its final chapter.

Even the box bears the words “Now & Forever!!” A strangely hopeful phrase to place beside an ending this painful.

Perhaps that is Punpun’s final lesson. Growing up is not always becoming the person you promised you would be. Sometimes it is surviving the person you became, accepting what cannot be repaired, and refusing to let your worst years become your whole life.

The hands will keep moving whether you are ready or not.

The difficult part is choosing to move with them.

2013 Oyasumi Punpun Volume 13 Original Watch Limited Edition

01/09/2026

Araki Hirohiko planted eight generations of JoJo inside a 300-year-old Japanese masterpiece.

Hirohiko Araki Original Art Exhibition: JOJO: Ripples of Adventure opened at Tokyo’s National Art Center in 2018 for the series’ 30th anniversary. Conceived as a culmination of JoJo’s history, it assembled original manga pages, colour artwork and 12 large-scale paintings exploring its protagonists, rivalries, Stands, fashion and poses.

The exhibition travelled from Tokyo to Osaka before reaching Nagasaki in January 2020. Kanazawa was meant to follow that April, but COVID-19 forced its postponement. The exhibition would not finally reach Kanazawa until 2022.

For these regional stops, Araki created separate Nagasaki and Kanazawa key visuals, which became the artwork across these tees. Both belong to the 2020 merchandise release. The Nagasaki design was sold at its venue, while the Kanazawa design entered a limited online sale after COVID-19 closed the doors on its planned exhibition.

For the artwork, Araki turned to Ogata Kōrin’s 18th-century Irises, 燕子花図屏風 (Kakitsubata-zu Byōbu), a National Treasure formed from two six-panel screens.

Where Kōrin arranged blue flowers and green leaves across gold, Araki gathered characters from JoJo’s eight generations. The irises become people, each distinct in shape and posture, yet connected across the same field. A centuries-old image of flowers in bloom becomes a portrait of JoJo’s central idea: different lives, eras and worlds joined by the same human spirit.

That history makes this pair stranger than a conventional venue set. Nagasaki records a show that opened; Kanazawa one that existed first as an image and a promise. Its tee reached people two years before the exhibition.

Perhaps that is the most JoJo thing about it. Fate changed the route and held one city in place, but the image kept travelling until the exhibition finally arrived in 2022. In JoJo, fate may determine the road. Resolve decides whether the adventure ends.

2020 Hirohiko Araki Original Art Exhibition: JOJO: Ripples of Adventure Nagasaki & Kanazawa Key Visual T-Shirt

31/08/2026

If you could return to the last summer before everyone grew apart, would you?

Anohana’s full title translates to “We Still Don’t Know the Name of the Flower We Saw That Day.” Perhaps they never learned its name because the flower was childhood itself: briefly in bloom, impossible to preserve, and only understood once it had disappeared.

The Super Peace Busters were six children who believed their secret base, their friendship and their summers together would last forever. Menma’s death ended that world, leaving the five who survived to grow older around everything they could not say.

Years later, she returns to Jinta with one final wish. To fulfil it, the group must become the Super Peace Busters again, even if only long enough to face the summer that never truly ended for any of them.

One tee keeps all six together, still young enough to believe that nothing could separate them. The other leaves Menma alone, already resembling the memory she will become. Printed across both backs is 超平和バスターズ, carrying the name of their childhood into the present.

Perhaps that is why Anohana remains so painful. We recognise ourselves in those children. We remember the friends we thought we would know forever, the places that once felt like entire worlds, and the version of ourselves that still lives somewhere inside one particular summer.

These tees are an invitation to return there, and for a moment, become one of the Super Peace Busters too.

2010s Anohana “Super Peace Busters Childhood Lineup” T-Shirt

2010s Anohana “Menma” T-Shirt

29/08/2026

Before STEINS;GATE 0 became an anime, this shirt was locked behind a 12% chance.

In November 2017, DMM.com, a major Japanese digital entertainment platform, launched a limited STEINS;GATE 0 online lottery. It lasted only eighteen days, with every pull guaranteeing a prize. Just twelve out of every hundred pulls landed on the C-1 Prize: this full-cast T-shirt.

It was never released through ordinary retail. Winners received their shirts around February 2018, only weeks before the STEINS;GATE 0 anime opened the Beta worldline to a much wider audience.

First released as a visual novel in 2015, STEINS;GATE 0 is not the story of the Okabe Rintarou who succeeded.

It follows the one who failed to save Makise Kurisu.

Broken by his failed attempt to save her on July 28, 2010, Okabe abandons time travel, buries Hououin Kyouma and tries to accept the Beta worldline as reality. Kurisu is gone, but fragments of her memories survive within Amadeus, an artificial intelligence that can speak with her voice without ever truly bringing her back.

Using artwork from the game, the red graphic gathers Okabe, Kurisu, Shiina Mayuri, Hiyajo Maho, Amane Suzuha, Shiina Kagari and the people caught within that abandoned future. At its centre stands an Okabe haunted by the person he could not save and the catastrophe he knows is still approaching.

Yet his failure was never meaningless.

The years endured by this version of Okabe eventually become the knowledge another version of him needs. One Okabe had to live through the wrong worldline long enough to show another how to deceive the world and reach Steins Gate.

With STEINS;GATE RE:BOOT reopening the experiment in 2026, it is worth remembering the abandoned worldline that made the original ending possible.

Sometimes reaching the right future does not mean erasing the version of yourself who failed.

Sometimes that person’s pain, effort and lost years become the reason someone else can try again.

2017 STEINS;GATE 0 DMM Scratch C-1 Prize Ensemble T-Shirt

26/08/2026

What do you lose sight of when becoming the strongest is the only thing you can see?

For Musashi, it was almost everything.

First serialised in Kodansha’s Morning in 1998, Inoue Takehiko’s Vagabond reimagines Yoshikawa Eiji’s novel Musashi through Miyamoto Musashi. It opens after the Battle of Sekigahara, where Shinmen Takezō emerges from a field of corpses believing strength is the only proof that his life matters.

The monk Takuan gives him a new name, Miyamoto Musashi, and a warning he would spend years trying to understand:

“Preoccupied with a single leaf, you won’t see the tree. Preoccupied with a single tree, you’ll miss the entire forest.”

Invincibility was the leaf. Each opponent became another tree. Beyond them was a forest he had forgotten how to see: the people who loved him, the lives beneath his sword, the kindness he mistook for weakness and the frightened Shinmen Takezō still living inside him.

With each victory, strength becomes less certain. The sword becomes a mirror for Musashi’s fear, loneliness and the emptiness awaiting him. A story about defeating others gradually becomes one about understanding why he needed to defeat them at all.

In 2008, Inoue carried that journey beyond the page with The Last Manga Exhibition, a “spatial manga” told through around 140 original ink-and-brush works. Visitors walked through an imagined extension of Vagabond, encountering an ageing Musashi as his life approached its end.

It toured Tokyo, Kumamoto, Osaka and Sendai from 2008 to 2010.

Made for the touring exhibition, this venue-only “Ink T-Shirt (Musashi)” lets Inoue’s brushwork consume the garment. Musashi stretches across its front, sleeves and back, as though an exhibition painting escaped its walls and wrapped itself around the body.

Vagabond offers no simple definition of strength. It asks us to loosen our need to prove ourselves, understand that gentleness is not weakness, and remember that living among others is greater than standing above them.

The leaf was never the whole world.

2008–2010 Inoue Takehiko The Last Manga Exhibition “Ink T-Shirt (Musashi)”

23/08/2026

What does it mean to be saved when the person you called for loses himself in the process?

During his battle with Ulquiorra Cifer in Chapter 350, “The Lust 4,” Kurosaki Ichigo has already been struck through the chest when Inoue Orihime cries for him to help her.

Something answers.
But it is no longer the Ichigo she was calling for.

In 2021, BLEACH marked its 20th anniversary with BLEACH EX., the series’ first original art exhibition. It opened at Shibuya Hikarie on December 18 and ran until January 16, 2022. It then toured seven Japanese cities before returning to Tokyo for BLEACH EX. FINAL in December 2023, completing a journey of just over two years.

BLEACH EX. turned Kubo Tite’s fifteen-year manga into a physical experience. Visitors entered through a theatre-like monochrome space surrounded by 104 character murals, then moved through original manuscripts, colour illustrations, videos and installations exploring Ichigo’s battles, friendships and separations.

This exhibition tee isolates one of the darkest images from that journey: Ichigo beneath his Complete Hollowfication.

After hearing Orihime’s cry, Ichigo rises with horns, a Hollow hole and almost none of the person we recognise. He overwhelms Ulquiorra, but attacks Ishida Uryu when he intervenes. The power inside him can protect Orihime, but only after erasing the person who wanted to protect her.
Within an exhibition tracing Ichigo’s growth, the graphic captures how far he once had to disappear before understanding what had always lived within him.

Which makes yesterday’s Thousand-Year Blood War Episode 45, “DEFEND YOU,” a powerful continuation of this image.

Against Yhwach, Ichigo consciously awakens the Hollow power that once acted in his place. Orihime stands beside him again, but she is no longer crying for Ichigo to save her. This time, she is determined to protect him, even if it costs her everything.

Once, Orihime called for Ichigo and the Hollow answered in his place.

Yesterday, Ichigo wielded that power by choice while Orihime fought to protect him.

2021 BLEACH EX. 20th Anniversary Original Art Exhibition Kurosaki Ichigo Complete Hollowfication T-Shirt

21/08/2026

For a generation of anime fans, Dragon Ball Z was the first time “what happens next?” felt genuinely enormous.

Akira Toriyama’s Dragon Ball began in Weekly Shonen Jump in 1984 and ran until 1995. One detail that often gets lost overseas is that the manga never changed its title to Dragon Ball Z in Japan. It remained Dragon Ball throughout. “Z” was the title given to Toei Animation’s second TV series, which adapted the story from Raditz’s arrival onward and aired in Japan from 1989 to 1996.

By the time Japan had already seen Goku’s story through the Saiyans, Freeza, Cell and Majin Buu, American television was still catching up.

FUNimation brought Dragon Ball Z to U.S. syndication in 1996 in partnership with Saban Entertainment, with its English voices recorded through Ocean Studios. For broadcast, the first 67 Japanese episodes were edited and condensed into 53.

Then came Toonami.

Cartoon Network began airing those 53 episodes on Toonami in August 1998. They cycled through the block five times before new episodes finally arrived in September 1999, now using FUNimation’s Texas-based cast.

These late-90s licensed tees come from that unusual period when American fans were discovering DBZ years behind Japan. Across them are Goku, Vegeta, Trunks, Piccolo, Cell and even Gogeta, pulling from different corners of a story U.S. television had not yet finished revealing.

Gogeta is perhaps the best example. He debuted in Japan in the 1995 theatrical film Dragon Ball Z: Fusion Reborn. FUNimation’s official English-language U.S. release of the film would not arrive until 2006.

So an American fan could encounter Gogeta on officially licensed merchandise years before FUNimation had released the movie that introduced him.

That was part of discovering Dragon Ball then. Merchandise, games and magazines could reveal pieces of a universe television had not reached yet.

Japan already had the answers. Everyone else was catching up.

And every afternoon, the world of Dragon Ball Z seemed to get a little bigger.

Late 90s/Early 00s FUNimation-Licensed Dragon Ball Z T-Shirts

20/08/2026

Twenty years after Tsugumi Ohba and Takeshi Obata gave the world DEATH NOTE, the series returned to where everything began: the original pages.

Written by Tsugumi Ohba and illustrated by Takeshi Obata, DEATH NOTE began in Weekly Shonen Jump in 2003. Light Yagami discovers a notebook that can kill anyone whose name is written inside it, declares himself Kira, and begins one of manga’s most famous battles of intellect against L, later inherited by Near and Mello.

The manga ended in 2006 after 12 volumes.

Twenty years after its debut, DEATH NOTE EXHIBITION opened in Tokyo on September 8, 2023 before travelling to Osaka later that year.

The exhibition returned visitors to the making of DEATH NOTE itself. Obata’s original monochrome and colour manuscripts were displayed alongside recreations of the Death Note, Light’s bedroom, L’s investigation headquarters, a Kira worshippers’ altar and a three-dimensional interpretation of the Volume 12 cover.

These three shirts formed the exhibition’s complete T-shirt lineup.

T-Shirt A places Light within one of Obata’s elaborate supernatural compositions.

T-Shirt B revisits the artwork from Volume 12, the manga’s final volume, which the exhibition also recreated as a three-dimensional installation.

T-Shirt C marked the anniversary most directly. Obata created an entirely new illustration specifically for DEATH NOTE EXHIBITION, bringing together characters and imagery from across the series for its twentieth year.

One shirt looks back at Light.
One returns to the final volume.
One was drawn twenty years later to commemorate everything DEATH NOTE had become.

In 2003, it began with a blank notebook.
Twenty years later, the pages were behind glass, the story was complete, and Takeshi Obata was still drawing DEATH NOTE.

The names had already been written.
The legacy clearly wasn’t finished.

2023 DEATH NOTE 20th Anniversary EXHIBITION T-Shirts

Loop Garms

06/09/2026

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