FAQ – Frequently Asked Questions

Each shirt is printed only after you place your order. That’s why it takes a little longer than for items in stock: production usually takes 3 business days, followed by shipping within the EU, which typically takes 4–7 business days. Expect a total of about 7–10 business days. As soon as we receive your order, you’ll get a confirmation email indicating that we’ve started processing it.

You can view the shipping costs in your shopping cart before completing your purchase; these vary depending on the destination country. There are no hidden additional costs—the price shown is the final price, including sales tax.

We currently ship to Germany, Austria, and most EU countries. You’ll see your specific shipping options at checkout at the latest.

You can pay by common credit and debit cards, Klarna and Google Pay or Apple Pay. Payments are processed securely by Stripe — we never see your card details.

Get in touch as fast as you can. Because each shirt is printed individually for you, orders go into production quickly. As long as printing hasn’t started, we can usually still adjust things. After that, your statutory right of withdrawal applies.

You have a 14-day right of withdrawal from the day you receive your order. Just drop us a line and we’ll sort out the return. Items should be unworn and unwashed. Full details are in our withdrawal policy. 

Just contact us. Within the withdrawal period you can return the shirt and order the right size. To avoid that in the first place: check the size chart on the product page — all measurements are given in centimetres.

Contact us with your order number, ideally with a photo if something is damaged. We’ll take care of it and either send a replacement or refund you. No paperwork battle — we just want you to get your shirt.

Yes. Your invoice is emailed automatically along with your order confirmation. If it doesn’t show up, check your spam folder or drop us a message.

We print on demand instead of on speculation. That means no warehouse full of unsold stock, no overproduction, no leftovers in the bin. The trade-off is a few days of waiting. We think that’s a fair deal.

The artwork is drawn and designed mainly in Leipzig, Germany. The artist was born in Stollberg. Printing and shipping happen within the EU through our production partner. We deliberately say “shipped within the EU” rather than “shipped from Germany” — because that’s simply the honest version. The blank product is sourced from Bangladesh, Nicaragua, Honduras, Dominican Republic, Haiti or Guatemala

Every design starts as a drawing made by hand — no stock-graphic kit, no click-together generator. Only afterwards is the drawing digitised and prepared for print. If a line is slightly crooked, that’s not a mistake. That’s the whole point.

It’s mainly made of 100% ring-spun cotton, except for the colors:
• Sport Grey = 90% ring-spun cotton, 10% polyester
• all Heather colors = 65% polyester, 35% cotton

Every product page includes a size chart with measurements in centimetres. Our tip: measure a shirt that already fits you well and compare chest width and length. That beats guessing every time.

Turn it inside out, wash at max. 40 °C, don’t iron directly on the print, no tumble dryer, no fabric softener. That keeps the print strong for a long time — until it eventually gets that slightly worn look we’re rather fond of anyway.

No. Dropshipping means reselling somebody else’s mass-produced goods. Here, the design is the product: our own drawings, our own motifs, our own intellectual property. Printing is just the final production step — and it only happens once someone actually wants the shirt.

Because we only print after an order comes in, there’s no overproduction and no unsold stock getting destroyed. That’s a genuine structural advantage over warehouse retail. It doesn’t make the product carbon-free — textile production and shipping always leave a footprint. We’d rather promise less and tell you what’s actually true. (also read: …and commerce always wins)

The responsible economic operator under EU product safety regulation is: Marcontex UG (we are a brand of them, Zeisigweg 4, D-09366 Stollberg/ Germany. For questions or safety concerns about a product, contact us directly at webmaster@daddygrunge.rocks.

A drop is a limited run of one design. Once a design runs out (and that happens mostly due to artistic considerations), it usually isn’t simply reproduced. So if you like something, waiting isn’t a particularly good strategy.

Because it’s meant to. Daddy Grunge isn’t a brand that drops a 90s filter on top of things — the 90s are the starting point. Back then the web was loud, crooked, colourful and personal. Every page looked like a human had built it, because one had. This site is a nod to that. Under the hood, it still runs on current tech. And, man, it wasn’t that easy adapting it to the 90s – both in terms of the programming and recalling old websites.

The visitor counter is a salute to a time when every homepage proudly counted who dropped by. Treat it as decoration, not statistics. What we actually measure is laid out transparently in our privacy policy.

Netscape Navigator was the browser in the mid-90s, before Internet Explorer pushed it aside. Because pages looked different in every browser back then, site owners added notes like this. Today it’s an in-joke — back then it was a genuine warning.

Tiled background images, animated GIFs, “Under Construction” signs, frames, scrolling marquees, guestbooks and hit counters. Hosting came from GeoCities, Angelfire or Tripod — free, sorted into themed “neighbourhoods”. It was chaotic and rarely beautiful. But it was handmade, and you could tell on every single page. That’s the spirit we’re quoting here.

In the 90s almost every homepage had one: a page where visitors simply left a note. No algorithm, no reach, no likes — just a digital note on a pinboard. We liked the idea enough to bring it back. Feel free to sign it.

No. Besides of the fact, I don’t have any capabilities to program something like this: The 56k modem joke is a joke, not a blueprint. The site is optimised for modern load times — images are served compressed, animations run efficiently. The 90s are the look, not the performance.

All designs are drawn by hand at Daddy Grunge — the same person who makes the music and built this site. “Built in Basement” isn’t a marketing phrase, it’s a fairly precise location.

The 90s were the last decade before permanent connectivity. You were reachable, or you weren’t. You discovered music through radio, MTV and friends rather than recommendation algorithms. Subcultures had room to grow before being commercially harvested. That produced a mix of slowness and freedom that’s hard to reproduce today — which is exactly why people keep looking for it.

Nostalgia waves run on roughly a 20-to-30-year cycle: whatever you experienced as a kid or teenager comes back once that generation has spending power and cultural influence. On top of that, there’s a second group who never lived through the 90s and are discovering them purely as an aesthetic. Both are arriving at once — which is why the revival feels so loud.

Flannel shirts over band tees, washed-out jeans, Doc Martens, windbreakers in colours that don’t really exist anymore. Grunge made the deliberately unkempt look acceptable. Later came baggy cuts, sportswear brands and techno neon. Throughout all of it, the graphic tee was how you showed what you belonged to — and it still is.

Music first: a raw, distorted rock sound out of Seattle that emerged in the late 80s and broke worldwide in the early 90s. The fashion followed, and originally wasn’t fashion at all — just cheap, practical clothing. It took the fashion industry to turn it into a style. That contradiction — an anti-commercial stance going commercial — is part of the story.

The self-recorded mixtape. Friday night at the video rental store. The dial-up modem handshake. Phone booths. The Walkman that chewed your tape. Photos you didn’t see for two weeks. Television that ran at a fixed time or not at all. A lot of it was impractical — and people miss it anyway.

Honest answer: a bit of both. Nostalgia reliably filters out the bad parts. Plenty was worse — technology, choice, access, diversity. But some things genuinely were different: less permanent availability, less pressure to optimise everything, more room for things nobody could measure. You don’t have to romanticise the decade to say that part is worth bringing back.

Ideally something that hits a specific memory rather than generic retro decor. A design that recalls a particular song or a particular scene works far better than a random “90s” print. That’s precisely why we build our shirts around single moments rather than the decade as a catch-all.

Grunge and alternative rock at the start, hip-hop running alongside in arguably its strongest phase, then Britpop, Eurodance, techno, and towards the end drum’n’bass and big beat. What stands out: these scenes ran in parallel without merging into one uniform sound. You could pick one — and people did.

Drum’n’bass emerged in the early 90s in the UK out of the rave and jungle scenes: very fast, chopped-up breakbeats over deep, slow-feeling basslines. The appeal lies in exactly that contradiction — frantic on top, calm underneath. It was one of the first musical forms built entirely from sampling and studio work.

Because the tools had limits. Samplers had a few seconds of memory, so you had to choose. There was no unlimited undo, no real-time pitch correction, no perfectly quantised grid. Whatever was off stayed off — and became part of the sound. That friction is often missing today, when everything is technically possible.

The PO-33 is a tiny sampler roughly the size of a pocket calculator: you record sounds through a microphone, spread them across the keys and build beats from them. Barely any memory, no screen, no mouse. That very limitation forces decisions instead of endless options — and it happens to sound pleasantly like broken 90s equipment. Most of the beats here are made on it.

On the radio, finger hovering over the record button. On MTV, if the right video happened to be on. Through friends who pressed a tape into your hand. In record shops where someone behind the counter had an opinion. People heard less music — but knew it far better.

Yes. Every track on this site is self-produced — with a sampler, a guitar and whatever else is in the room. No autotune, no bought-in beats. If something sounds slightly off, that’s not sloppiness, that’s the state in which music gets interesting to us.

The band history behind Daddy Grunge sits in the 90s and early 2000s, and today it’s mainly one thing: the reason this brand sounds the way it does. The old projects aren’t active anymore — but the experience from them is in every beat made here. More on that on the Music page.