OWSLA and the Visual Identity of the Mid-2010s Rave Scene

OWSLA, co-founded by Skrillex, Tim Smith, Kathryn Frazier, and Clayton Blaha in 2011, was a record label and creative collective primarily focused on the electronic music and rave scene of the 2010s. Its name references Watership Down, the fantasy novel written by Richard Adams, in which the Owsla serves as the governing caste within a society of wild rabbits. Metaphorically, the name perfectly reflects what OWSLA became during the 2010s: a powerhouse label and collective that permanently stamped its name into the history of electronic music.

Its artistic roster was second to none. Led by its central figure, Skrillex, the label featured artists such as Porter Robinson, Seven Lions, Dylan Brady, Dog Blood, Salvatore Ganacci, Valentino Khan, and Marshmello. Even then, that list only scratches the surface of the immense talent associated with the collective. I could go on and on about OWSLA’s artists and their influence on electronic music, but I want to highlight something else that made the label so memorable: the merchandise.

Within electronic music culture, OWSLA Goods played a role comparable to that of Tyler, the Creator’s OFWGKTA merchandise within hip-hop and skate culture. Much like the iconic Odd Future doughnut, OWSLA’s logo was far ahead of its time. Something about its geometry and symmetry immediately drew me toward the label and its merchandise back in 2015, eventually leading me to buy one of its hoodies with my parents’ credit card.

Despite the simplicity of its conception, with each letter combined to form a single striking graphic, the OWSLA logo demonstrates the importance of effective logo design within fashion. During that period, the symbol seemed to be everywhere. It appeared on flags, clothing, tattoos, and beautifully edited photographs that I would use as wallpapers. It was instantly recognizable, visually balanced, and perfectly suited to the collective’s merchandise.

Whether printed on hoodies, T-shirts, or bucket hats, the logo simply worked. It became clear that OWSLA had established a distinctive aesthetic during the 2010s that few others within the rave scene could match. The merchandise was not merely promotional clothing for a record label. It became part of the visual identity of electronic music culture during that era.

Unfortunately, by the beginning of the 2020s, the Los Angeles-based collective had become increasingly quiet and effectively went dormant. Salvatore Ganacci’s Boycycle EP, released in February 2020, remains one of the final projects prominently featured on OWSLA’s official website. However, the collective never formally announced its closure or provided one definitive reason for its inactivity. As Skrillex’s musical direction and priorities continued to evolve, OWSLA’s output gradually slowed, while the regular releases of its iconic merchandise also faded away.

As much as I dislike seeing OWSLA remain inactive, its impact on design and the Los Angeles electronic music and rave-fashion scene has left an imprint that will not easily disappear. Through its unmistakable logo, influential music, and carefully developed visual identity, the collective created an aesthetic that defined an era of rave culture and helped shape the future of fashion within the electronic music scene.