Author: Bradley Martinez
For all of their collaborators, few have stood the test of time more than Y-3. Since it inception in the early 2000’s, adidas and Japanese designer Yohji Yamamoto have been a fusing of minds. The mission? To create bespoke collections that aim to push the boundaries of the adidas archive.
Collaborations between high end fashion brands and sportswear giants aren’t anything new. In fact, over recent years they’ve become a thing of norm. However, Y-3 have been building this connection since their debut collection back in 2003 and have gone on to build a cult like following.
Y-3 always focus on innovation and materials which often led the way when it comes to new concepts like the Y-3 Qasa from 2013. A standout silhouette still to this day. The idea was to bring a contemporary approach to adidas’ archival Tubular technology. With that underfoot, the upper became a masterpiece of avant-garde inspiration. Premium comfort and a futuristic design paved the way for future examples of the model. Continuing the trend, they swiftly followed this up with the Y-3 PureBOOST (2014), Y-3 Run BOOST (2016) and the 4D Runner in (2018).
Now for their FW23 collection, the those avant-garde theme continues. This time, we even more recognisable silhouettes, concrete greys are met with bursts of yellows whilst exposed stitches and loose threads replace the iconic sidewall Three Stripes. Take a closer look below and check out the latest offering online at Footpatrol here!
Music has always been a focus here at Footpatrol. In line with Frequent Players, we partnered up with New Balance in hosting an in-store listening party celebrating the launch of Lord Apex’s new album, ‘The Good Fight’.
It’s not every day you get to speak to the sensei, so we took our chance to catch up with him and find out more about his journey so far.
FP: Lord Apex, great to have you here with us. How are you?
LA : I’m great! Thank you for asking, man. It’s still one of the world’s most underrated questions. So I appreciate every time I hear it, bro. How are you doing?
FP: I’m good thank you, interviewers rarely get asked that!
LA : Yeah, bro. I can’t help but ask. I’m speaking to somebody, you know what I mean? So, I’m not, not gonna ask you. You don’t wake up and slap an interview on your head, you know what I mean? You’re a person.
FP: You’ve been a busy guy traveling, dropping new music and doing shows. Life seems like a movie for you right now, how you been finding it?
LA: Man, it’s been a movie for me since I was like seven years old. It started off like ‘Cheaper by the Dozen’ or a PG 13. Now we have an R rated movie, bro. I mean, we be taking life by the balls. It’s cool! More than anything, my whole energy is just waking up grateful.
I pray every morning, every night. I’m very thankful to be in the position I’m in, whether I felt like it’s like God given or a blessing. My main thing is just being thankful.
FP: That’s a good way to look at it. I feel like a lot of people these days carry some sort of ego with these things.
LA: Don’t get me wrong, I felt like there was part of me that had a big ego and I just had to kill him off, but now I can look at him from an outer body perspective and bring myself back down.
FP: From bamboo forest, all the way through to some of your recent projects with Cookin Soul and now Madlib. Your discography keeps on elevating. Did you ever see things going this way when you started?
LA: Pun intended every time. I’m always going to elevate, because that was the plan. There’s no way I can’t remind myself that we want to be doing better than we did last time. So even down to collab, I would never put people on levels in terms of how big they are. Whenever we get together, that’s a whole different experience. Even with Madlib, everything else he’s done aside, I think it still would have come out the same way. But outside of that, it was just a beautiful experience to be able to get that done.
It did a lot for the kid in me. And it made me feel like I should keep inspiring people to go above and beyond for real.
FP: How do you go about choosing who you work with, it’s such a diverse mix of artists and producers?
LA: I’m very big on just being in the present. Very Gemini in terms of the music I want to create. It changes all the time. It could be like one day, let’s just get trappy. So, For me it really varies on what vibe I’m in at the time, what music I’m listening to.
It naturally becomes something different.
FP: Do you have a list of people you’d one day like to work with or you just freestyling or now?
LA: Ah, you know what? I would like to one day be seen as that actor that everybody wants to work with, you know? Every director needs him as opposed to me having a crazy list. I’ve got a list and the more I see that list, the more it changes and fluctuates.
So right now I could sit here and be like, Alchemist, Primo, all that shit.
I also wanna know who produced Toxic for Britney Spears, you feel me? Let’s go crazy. Let’s get crazy. Get me in there with them Swedish boys, man. Like, Screw That Click, all that shit. I grew up heavily inspired by DJ Screw, so I would love to be on, some of that, Houston type slow down. You know what I mean? I love that Memphis sound all sped up. But I like the Florida sound too and thats sped up twice as much. So it varies, but I listened to so much. It’s only weird if you don’t know that I’m into that music as heavy as I am.
FP: I know you’re a man that’s trying to push your own boundaries with your music. Do you have a direction as to where you want to take things later in life?
LA: Life’s the direction.
FP: How do you look to elevate your sound?
LA: Production. I feel like that’s the next step in terms of solidifying my sound. I want to hear a song and be like, yeah, this is a flat song. But before the lyrics come in, you know what I mean? I’ve always had a good ear for beats. Even before I started making music.
FP: One thing we’ve always loved is the visuals in your music videos. Do you do the creative direction yourself for each project?
LA: I like to do a mixture of both where we have a set. We kind of have a set family that we work with all the time. So like my guy Above Ground. He’s probably shot my best videos. All the ones that we’ve done on film, like Speak for Yourself, Life Goes On.
I’m glad we get to document the journey because, instead of me having to tell people like, yo, this was like this or that like the listening event tonight for example, it’ll be documented, but then it’s documented on a Bolex. It’s beautiful.
I love films, I study films. So I always try to put effort in my visuals.
FP: You are also prepping for your 2024 EU & UK tour for your latest project The Good Fight. What can you tell us about this latest release?
LA: What can I tell you? Man. UK wise, definitely critically acclaimed. I feel like wherever it stands, it might not get in the conversation immediately. But then that might be something that also comes as a surprise to me because I’m my worst critic.
When it comes to me critiquing myself in terms of how I’m viewed in the UK, in my eyes, it’s always a bit more negative. In the beginning, when I was still in ego mode, I felt like there were a lot of conversations I was getting left out of. But in retrospect, bro, who cares? I enjoy making music and my favorite thing to do is represent everybody that feels like they resonate with the space I’m in.
FP: Sensei, it’s been a pleasure. Thank you again for having the chat with us, before we let you go. Can we get 1 fun fact about you that people may not know about?
LA: Fun fact about me is none of the things I’ve done in the last three years would be possible without Max and Connor over there. [points at his team]
One thing we love to explore at Footpatrol is technology and performance and how those two worlds combine. As well as our usual offering of exclusive and rare sneakers, we also offer a whole range of performance silhouettes from a number of our usual brands. From daily runners from the likes of HOKA, through to the latest trail conquering runners from norda, ON or Merrell or the latest in carbon technology from Nike with the NEXT% division we have something for everyone in their pursuit of performance.
One thing we were missing within our arsenal however is performance apparel. Now though, we welcome District Vision to our range of brands.
After a series of life changing events, District Vision was founded in 2016 by Tom Daly and Max Vallot when the pair discovered the joys and benefits of running and meditation and here lies the brands key message. Constantly researching and developing tools to help others become mindful athletes, the brand look to create products with a function-first and performance enhancing mentality which at the core is a foundation of well-being within the form of physical exercise.
Now seven years in and to welcome the brand at Footpatrol, we took some of the latest collection down to the wet and windy English South Coast with local runners Fey and Arran. Check out more below and why not check out their latest collection available to shop online at Footpatrol here.
Sometimes within the world of contemporary fashion and footwear it’s hard to stay true to yourselves. Where trends are constantly changing within the blink of an eye, Hender Scheme manage to buck that trend. Defying the fast-paced nature, they’re standing strong against the mass-produced norms.
Founded by Ryo Kashiwazaki in 2010, Hender Scheme entered the fashion world with its unique approach to craftsmanship, redefining the way we perceive and appreciate footwear.
At the core of Hender Scheme’s philosophy lies a deep reverence for craftsmanship. Each pair of shoes produced by the brand is a testament to this devotion, as they are meticulously handcrafted in small workshops in Japan. Ryo Kashiwazaki, the brand’s founder, believes that the art of craftsmanship is not just about creating products but also about infusing them with a sense of personality and character.
Hender Scheme’s footwear is made using traditional shoe-making techniques, emphasising the use of high-quality materials and artisanal skills. This commitment to craftsmanship is a refreshing departure from the disposable, mass-produced ethos that can tend to dominate the industry.
One of the standout features of Hender Scheme is its embrace of raw, natural aesthetics. The brand’s shoes are intentionally designed to age and patinate over time, giving them a unique and personalised appearance.
The untreated leather used for the uppers of their footwear is meant to develop a distinct patina, much like a fine wine. This concept of aging gracefully not only adds character to the footwear but also encourages consumers to form a deeper connection with their shoes. Hender Scheme believes that beauty lies in imperfections and that each scuff or blemish tells a story, making each pair of shoes truly one-of-a-kind.
Hender Scheme is well-known for its reinterpretation of iconic footwear silhouettes. The brand takes classic designs, such as the Nike Air Force 1 or the Adidas Superstar, and recreates them with a unique twist. These “homage” designs are executed with impeccable attention to detail, and they offer a bridge between the worlds of high fashion and streetwear.
Hender Scheme has cultivated a devoted cult following of fashion enthusiasts who appreciate the brand’s dedication to craftsmanship and unique aesthetic. The brand’s limited production quantities contribute to the exclusivity and desirability of its products. This scarcity often leads to customers waiting in anticipation for each release, and it underlines the brand’s commitment to quality over quantity.
Nike makes history this month as it prepares to release the first-ever physical sneaker under its .SWOOSH Web3-enabled platform. Created as part of Nike’s “Your Force 1” campaign, the design competition challenged sneakerheads to jump into the next digital frontier of footwear. .SWOOSH Studio allows users the ability to be the creative director through a collaborative design process with a Nike designer that prioritises creative storytelling over creative skills.
This isn’t the first time Nike has dipped its toes into the Metaverse. In December 2021, the footwear giant announced the acquisition of RTFKT, a leading brand that leverages cutting-edge innovation to deliver next-generation collectables that merge culture and gaming. The move is another step that accelerates Nike’s digital transformation and serves the growing cohort of Gen Z consumers who perceive no difference between physical and virtual reality and experience the metaverse with fluidity.
Daniel Bailey, co-founder of CONCEPTKICKS and footwear designer better known as Mr Bailey recently spoke to Highsnobiety on the endless creative and commercial possibilities offered by the metaverse. “I think over the next couple of years it will become the norm to buy sneaker NFTs, balanced with physical versions of that same file/design. It’s without a doubt the present and future of the industry,” he explains.
Grounded on the blockchain, NFTs have been making a big splash in the fashion world with major luxury and streetwear brands investing in the digital universe. You only have to look at the astronomical sums generated in Nike’s recent NFT auctions to see why they are banking on the metaverse. The CryptoKicks collection, auctioned on online marketplace OpenSea saw customers pay between $4,000 and $9,500 in cryptocurrency for the shoes, with some pairs selling for well over six figures. By comparison, a pair of Nike Supreme Stars Mean Green SB Dunk Lows were selling Thursday on StockX for roughly $1,000. In October, a pair of Nikes that Michael Jordan wore during his rookie season in 1984 sold at auction for $1.47 million.
The inclusion of the sneaker community is a big part of the success of the digital footwear revolution. .SWOOSH platform gives your average person who may not be super familiar with the space an opportunity to explore digital designs, while the voting element of the contest invites the sneaker community as a whole to decide the best sneaker to get the IRL treatment. SoleSavy uses a similar community-focused approach by dropping its limited-edition custom SS4 sneaker and NFT physically and digitally. This virtual and physical mix allows designing innovative ideas and creating a parallel world where one’s avatar can go shopping, make friends, and have a “second life”.
NFTs aren’t the only digital design tool disrupting the footwear industry. Over the past year, AI sneaker designs have swept social media with digital artists creating their own dream versions of familiar kicks. IG account AI_ClothingDaily, which is run by luckynumber.8, is one particular page that has gone viral for its AI-generated Nikes. Each pair takes a familiar Nike silhouette — such as the Air Force 1 and the Vapormax — and gives it a lace-centric, intricate makeover.
The computer-generated designs prove the incredible potential and abilities that AI holds. It hasn’t come without criticism though. Many sneakerheads on social media are sceptical about this derivative design approach, one which sees keywords tossed into an aesthetic blender rather than creating their own new ideas. There is also the question of whether AI-generated creations unfairly exploit others’ intellectual property. But for all the concerns, these fan projects are undoubtedly pushing the industry to explore how designers can and will collaborate with increasingly sophisticated tools—including manipulable datasets that encompass lifetimes of design influences and precedents.
Adidas has already openly signalled that it is building AI into its design flow. Last April, the German sportswear brand celebrated the arrival of the latest Ozworld collection, by launching the world’s first personality-based AI-generated avatar creation platform, in collaboration with Ready Player Me. Designed to empower and open up the pursuit of self-expression for consumers, the online Ozworld experience enables users to create their unique digital selves, which can then be taken around the web exclusively with Ready Player Me – a cross-app avatar platform for the metaverse that allows anyone to explore virtual worlds with one consistent identity. “Whether IRL or URL, the Ozworld collection boldly represents a platform for style experimentation and a rallying call for the pursuit of personal expression,” adidas said of the line.
These virtual sneakers arrive at a time when the footwear industry has been thrust towards digitalisation with new technologies accelerating advancements and changing the face of sneaker design as we know it. Innovation has always been at the forefront of the industry but with 3D printing and robotics streamlining processes and becoming more commonplace, digitalization in all its forms will be the main factor shaping the industry moving forward.
Luxury brands like Dior and Givenchy have been some of the first to implement digitalization into their seasonal footwear. For A/W 23, Dior Men debuted a pair of 3D-printed derby shoes as a modern translation of the Maison’s Carlo model. The team 3D scanned the original leather Carlo Derby and applied a digital texture to its surface. Once transformed in digital space, the new rendition goes through a 12-hour printing process before emerging from a powder bed where it is given its final finishing touches.
As Thibo Dennis, head of footwear at Dior Meen notes, “It’s a highly meticulous process, similar to a couture embroidery of craft technique, to arrive at this level of perfection and this level of finishing.” He says that while the style may look visually aggressive it is actually very soft and ultra-lightweight when worn.
Givenchy’s Creative Director Matthew M. Williams is another designer who has been breaking new ground with digitised footwear. Givenchy’s innovative TK-360 sneaker encapsulates the designer’s contemporary approach to Givenchy’s historic association with savoir-faire and craft. The shoe’s sleek and sporty shape is achieved from a singular piece of stretch-knit fabric, crafted directly onto the custom-moulded sole giving the sneaker a unique tread and entirely monochrome appearance. Williams calls it his ‘dream shoe’. “There is a sense of savoir-faire for sportswear created at a fashion company like Givenchy that is different from a sportswear company, but no less rigorous,’ Williams told Wallpaper.
Aside from cutting costs and lead time to the production process, these digital technologies offer environmental benefits too. Both the Carlo Derby and TK-360 are created entirely from mono-materials, which means any post-industrial waste can be recycled back into the system.
“80% of the material is entirely reused for other purposes,” says Dennis. “It’s a circular approach. It’s continuous. It’s virtuous.”
These innovations certainly don’t come cheap. Dior’s Derby will set you back £1850, while Givenchy’s TK-360 comes in at £695. But these luxury price points aren’t entirely reflective of how digital technology is being scaled into the mainstream. 3D printing and 360 woven techniques are actually lowering the barrier to entry as it eliminates the required investment of money and time. This is something that both big and small brands have highlighted and benefited from. adidas has scaled to the mass market with its 4D and Strung projects, while start-ups like Zellerfeld are making waves with their use of circular 3D printing
Heron Preston, who collaborated with Zellerfeld for the HERON01 sneaker, says he is trying to put a printed shoe on every foot in the world. “When I first met Cornelius from the 3D tech company Zellerfeld, he spoke to me about things like the economics of the photography industry, recycling plastic, the anatomy of the human foot, the history of footwear development and a vision of a sustainable future where we would no longer need multiple pairs of shoes,” says Preston on his venture into digital footwear design. “He explained to me, what his breakthroughs meant for footwear designers around the globe with big dreams and unrealized ideas. It was at that moment when I realized our ambitions for a better future were a match.”
According to Preston, Zellerfeld’s technology will usher the footwear industry into a future where creatives can independently realize their footwear concepts in a tangible, and commercially viable form. “You can produce as many pairs as people order, each one being personalized to the individual’s unique foot shape with a foot scan – and once the product starts to wear out, re-use that same material to print more, that material being 100% recycled plastic bottles.”
Unlike traditional footwear drops, Zellerfield and Preston released the sneakers as beta editions where the community would wear-test the shoes and provide feedback for the next edition. “From the first round of beta testing we were able to use the feedback to improve the design,” says Preston, going on to reveal how the second fully 3D-printed silhouette evolved with an improved collar shape for easier entry, softer upper, reduced materials as well as other improvements to the shoe’s overall fit and form.
What is most interesting about this new generation of digital designs is the new aesthetic direction that it is pushing footwear into. No longer restricted by confines of detailing like lace systems, panelling and tooling that goes into traditional sneakers, this new wave of digitalised design takes footwear in an entirely futuristic direction. Organic forms, ultra-high-tech materials and lightweight three-dimensional patterning give a peek into what footwear will look like in the not-too-distant future.
Emerging label Scry, founded by Zixiong Wei, is a great example of how footwear brands are blurring the lines between the digital and physical. Working on the intersection of art, design, technology, culture and environment, the brand is using cutting-edge innovation to bring avant-garde designs into real life. Its daring 3D-printed shapes and prototype-esque sneaker platforms can be produced in as little as two weeks and are often produced on demand, allowing the label to offer a sustainable alternative to mass-produced sneakers.
“I think SCRY is always exploring different future possibilities, rather than pursuing lighter, faster, and more resilient ones,” the 22-year-old founder told Hypebeast. “Sometimes, it is not the internal industry that disrupts an industry.”
Wei is already busy building an online design platform on SCRY to open design rights to the public. He sees these platforms as an essential tool for creating a more “free and diversified” footwear industry in the future. “Technology will promote the progress and collision of footwear design.”
When asked whether digitalised designs will take over from classic leather sneakers, Dennis states that “more than ever, I think the classic cup sole and nice leather would always exist.” He believes that besides the technology of digitalisation, sneakerheads will always be happy to wear a classic silhouette. “I think the future of sneakers is not only in 3D print but also in craftsmanship. To make everything more qualitative.”
Preston believes that it is the move to responsible design and on-demand production that will help usher in 3D printing into the future. “Removing all of these materials: removing the stitching, removing the glue and having just one mono-material. That innovative process is what is going to carry us into the future,” ” he says. “For a young sneakerhead or a young designer you can sleep on a design and hit print then you have that footwear in your hands that is wearable. That’s unheard of.”
Words by Samuatro
In a follow up to our previous 9fifty cap with New Era Europe, we once again team up with the headwear specialists to produce another story telling piece. Taking inspiration from both our bricks and mortar stores, London and Paris, each 59fifty cap will sit exclusively to both stores. With that said, each of these latest additions will pull influences from the city streets that surround the stores.
London pulls on a classic phrase, the ‘Big Smoke’ for a deep black peak with matching black details whilst the Paris edition opts for what France is famed for… wine. A burgundy peak is a subtle hint to this with details throughout in a matching palette.
Each feature matching graphics with the Footpatrol Monogram logo on the front, a Footpatrol bar logo along the side whilst at the back, a sense of exclusivity is clear with a nod to each city in a chain stitch-style embroidery.
To celebrate this launch and the city of London, TEAMFP member Fola caught up with friend of the store Moses to take him around some of his favourite spots. Take a look below at where we ended up and make sure to check out the latest Footpatrol x New Era collection in-store & online here!
Earlier this month, we teamed up with adidas Originals to redefine what Originals meant. For this, we teamed up with Benji aka, Blunt Shank. After sharing his love of the Superstar silhouette across forums back in the day, this b Egan Benji on his path to where he is today. Now creating bespoke and customs, ourselves and adidas challenged Benji to create a one-of-one Superstar to B-Boy Olympian talent Sunni Brummitt.
A performer at the highest level, Sunni has travelled the globe sharing his talents. Having started at the age of 10, Sunni has set his sights on the main stage at next years Olympics.
Excitingly, we recently had the opportunity to hand this pair over to Sunni. After lacing up the Superstars, displaying his talents, Sunni set about sharing with us his what Originals meant to him.
Tendai hates early starts. He loathes them, even. However, on this damp Thursday morning, the artist, producer and self-professed east London ambassador zipped through to Cambridge Heath station to make his call time.
Making music that sits beyond the constraints of a genre, with an aesthetic that feels extremely natural, yet intricately considered, tendai seems a complex character: an artist unable to be placed. It’s no wonder, then, that he’s found himself signed to 0207 Def Jam just two years after his debut single ‘Not Around’ and boasts an executive producer credit on Stormzy’s album This is What I Mean. As we anticipate the completion of his three-part EP series and witness tendai achieve so much in a relatively short space of time, there’s no doubt his feet are still firmly on the ground.
The way he speaks is evidence of his modesty. “I’m just a real person…a sensitive being at heart, where there’s no separation between self and art”, says Tendai. He constantly speaks about being “super specific” in every aspect of his being; in his music, his style – even with the food he orders. He’s also very particular about what he wears with his New Balance 991v2. And he is deeply deliberate about how he considers the impact of his music. “There’s certain records I’ve released that have a timestamp in them that predates the time they were made, just because of the emotion they evoke. I love the idea that I’m unintentionally reintroducing my generation, and generations to come, to a certain kind of British music. It’s funny because the word ‘British’ is just so specific.”
As we drive towards Tower Bridge on the rare and unfortunate day that it’s stuck open for about an hour, we joke about how this is part of London’s charm: it will always delay your schedule but it’s still our proud and abiding home. We also talk about how growing up in London has undoubtedly shaped tendai’s sound. “My music feels really British. The music I’ve made that sits deepest within me always feels like London,” tendai says. He goes on to reel a list of artists he feels are and have been making music that feels quintessentially British, names spanning from The Streets to Elton John, and speaks how he feels he sits amongst that melting pot of sounds.
Our journey takes us into the famed Number One Cafe, which serves as an integral meeting point in British series Top Boy. We find ourselves discussing the spoken and unspoken traditions, a conversation that somehow comes from trying to describe what “good chips” smell like. “That’s the thing about London’s culture and tradition, it’s so many things, where I’m from [Newham], it’s embracing all the culturally rich facets we’re surrounded by, whether it’s food, the music, the architecture, I think it makes us [east Londoners] have such an eclectic taste,” says tendai. “I pull from the road signs, from grime culture, the blocks of flats, the artists that are from here.”
Delving deeper, he speaks about the importance of understanding east London’s lineage – those who have succeeded in creative pursuits before him. “It contextualises me, not just as a musician too. I don’t see myself as just a singer or just a producer. I’m a director, I see the music I make in scenes.” A homage not only to the musicians of the East End, he extends that beyond, reeling off another long list of names that includes the likes of Idris Elba to Alfred Hitchcock.
While also looking to what came before him, tendai likes to fantasise over fortuitous interactions that are yet to happen. “I get inspired by the emotional breadth that can come just from meeting someone, that’s the pool I usually draw from” he says. He often muses on relationships that have a romantic edge to them, and what they might become can be the trigger for a new idea that becomes a song.
Before even beginning to lay anything down, there’s a few tendai-specific traditions that are part of his music making process. Pulling out a beautifully crafted incense box and placing it on the table as he lays back on the sofa and listens to an old vinyl, he explains the importance of being surrounded by a particular energy, especially when in creative spaces: “I guess it’s a ritual. It’s always important to create a certain calm in my space, so I always have this with me,” tendai says. “I also go to the ends of the earth to ensure something feels right musically, I won’t touch the mic until I’ve got a verse, pre chorus and chorus.”
Speaking so much about east London and being part of a region that has not only birthed the likes of Kano and David Beckham, but is home for the fictional borough of Walford, where cult classic soap opera EastEnders has been running since 1985, I ask tendai what made him different from the rest? Perhaps a deep understanding of his Ugandan heritage, shared with him by his mother? All of this combined? Surprisingly, it’s not something tendai ever really considered: he is way more focused on how he unites with people.
“The beauty of this all is that it doesn’t make me different. I, like many others, am sharing the story of a black kid in the diaspora, and that doesn’t separate me. It contextualises me and brings me closer to say many people, their lives and their stories.”
Check out the New Balance 991v2 online at Footpatrol here!
Whether it’s within our respected countries or globally, every year our calendars are filled with national holidays. The majority of these are often holidays that aim to bring people together in cause of celebration. Now approaching the end of October, we come to some peoples favourite. We’re of course talking about Halloween. Globally known and celebrated in most countries around the world, this festivity is a day that tends to focus on the spookier side of life.
Much like the kids (and adults) who use it as a time to dress up in their favourite horror movie characters outfit and venture out on a ‘Trick or Treat’ mission, it’s also an opportunity for popular brands to tag along for the ride. This’ll often end up with them delving into their archives and being inspired by a character and dress their most iconic silhouettes in a similar sort of fashion.
So, to celebrate, we take a look back at some of our favourite Halloween inspired launches.
One of the most iconic of these Halloween inspired ‘launches’ is of course, the one that should’ve never seen the light of day and that is of course, Nike SB Dunk Low ‘Freddy Krueger’. What should’ve been the release to celebrate Halloween 2007, this Dunk Low took on a striped knitted appearance that resembled that of famed nightmare stalker, Freddy Kruger.
This of course was followed up with the lawyers from licence holders ‘New Line Cinema’ who weren’t too fond of its resemblance. To try and get it over the line, Nike reworked it with a slightly thinner stripe however, this still wasn’t up to scratch and was followed up with a cease and desist. Calling back all the stock from retailers, it’s only due to a store selling their stock early that pairs made their way into the hands of collectors and now, with this hefty story behind it’s become one of the most desired within the Dunks history. This didn’t stop Nike trying again though in 2020 when they opted to loosely reference ‘Freddy Krueger’ and his famous jumper, this time with the use of materials and instead of the Dunk Low, they went for the equally famous Air Max 95.
Carrying on with the Nike Dunk Low theme, Nike once again reverted back to this silhouette for Halloween 2021 with the ‘Mummy’. Taking on the appearance of a ‘Mummy’, the upper features a tear-away construction that helps take the silhouette on a journey of its own, slightly unwrapping itself to unveil details hidden within.
Delving into the history books when it comes to characters within the horror history books, back in 2018 Saucony teamed up with Super7 and Universal Monsters to recreate the Saucony Jazz OG in 4 extremely limited renditions. Based upon Dracula, Frankenstein, The Metaluna Mutant and The Wolf Man, this 80’s runner was exclusively sold at 2018’s Boodega event with only 12 pairs per style and only one per size. This means, if you happen to see one of these in person, you have something special.
Alongside a couple of releases in 2007, Reebok also decided to bring a Halloween theme to their line up with the Reebok Ventilator. A set of four launches which of course lent towards fan favourites Freddy and Jason, the stand out pair was the Ventilator that took inspiration from Child’s Play star ‘Chucky’ and his denim dungarees and striped T-shirt. The team also didn’t miss a trick by including a matching pair that took on the appearance of Chucky’s bride, Tiffany.
It’s not always a character that gets the focus of a collaboration. When NYC based store Extra Butter had the opportunity to collaborate with Italian brand Diadora back in 2016, the store focussed on that Italian connection and the nation’s unique thriller genre ‘Giallo’. Referencing the 1975 film Profondo Rosso by Dario Argento and with those Made in Italy touches, the team paid inspiration to the movie’s iconic poster.
When it comes to collaborations, teams can often opt towards the more scarier horror films however, back in 2012 Nike decided to go down a bit more of a PG route. That said, it still had all the spooky details needed for a well executed collaboration like the glow-in-the-dark outsole and upper graphic. This time, they teamed up with animation studio Laika and the duo opted for a Foamposite based on the CGI horror comedy ‘Paranorman’ to which the shoe was also named. Limited to just 800 pairs worldwide, the sneaker was only available via an online competition called ‘Weird Ones’. Now, thirteen years on, the Paranorman is one of the most sought after Foams to have released.
It’s not just Nike who wanted to pay homage to Freddy Krueger; however, this one saw the light of day. Back in 2021, Vans teamed up with Warner Bros for an official collaboration that paid inspiration to six iconic films. Friday The 13th, The Lost Boys, IT, The Exorcist, The Shining and of course, A Nightmare On Elm Street and for us, it’s this SK8 Hi that was the pick of the pack. With a weathered green and red canvas upper mimicking Freddy’s jumper, the upper is doused in bloody red markings to relive the nightmares within the film.
For Halloween 2006 and with their BAPE-STA silhouette, BAPE went down the route of outlandish colourways to provoke a freak finish that was all wrapped up in a patent leather construction. Reworking the BAPE logo for this trio, the became the Frankenstein BAPE-STA, Mummy BAPE-STA and the Dracula BAPE-STA.
Continuing the theme of a full patent leather upper, for 2006 Nike turned their efforts to getting the whole family involved. With a women’s Nike Legend and a GS Vandal, the pick of the bunch though was the one you see above, the men’s Air Force 1. Paying inspiration to Mary Shelley’s 1818 novel Frankenstein, the upper features details throughout that hark back to the famed character, most notably the red stitches that mimic those on his forehead or the glossy volt green appearance.
Head over to the post over on our Instagram and let us know which is your favourite!
Back in 2022, a couple members of Footpatrol had the opportunity to travel to the Netherlands with alongside ASICS and fellow ASICS TOMO accounts such as Naked, Slam Jam & more. Whilst there and placed into teams, we all had the opportunity to work come together and work on a bespoke makeup for the new GT-2160. The joint venture resulted in the creation of the ASICS GT-2160 TOMO “Kogarashi,” which is a Japanese concept that signifies where summer meets winter, and warm connects to the cold.
Building on that idea of people working together and inline with our frequent players franchise, we looked not only at seasonal changes but also how music traverses the globe but also the idea of connecting people no matter the climate. With that said, to celebrate we brought together three DJ’s from London (Alexander Nut), Paris (Jojo Krazzy) and Japan (vloQee) to work on three bespoke mixes and how music speaks to their respected regions.
The ASICS GT-2160 TOMO edition is now available to shop online at Footpatrol here!
Footpatrol: Hey, we hope you’re good? Huge thanks to the three of you for taking the time to talk to us. Could you tell us a bit about yourself and what it is you do?
Jojo: I’m Jojo SK, Producer/DJ from Paris, I started as a music producer and I blended this part of my skills with DJ’ing, now I run an event organisation called Sixtion, the sickest night in Paris.
Alex Nut: Hello Footpatrol, my name is Alex Nut, im a DJ, producer, label owner and radio host, born and bred in the infamous West Midlands, but have spent the last 20+ years living in East London, paying top dollar for fancy coffee and easily accessing a variety of fresh fruits and vegetables. I’ve got a love for the more Soulful side of Underground Club music, from Hip Hop to House, Broken Beat to Boogie, Jungle to Jazz. My taste is pretty broad.
vloQee: I’m vloQee, an artist from Indonesia, I created character called “sebatsmen”, living in Tokyo for 6 years, where I pursue my academics and dreams while also DJing, modeling, and assisting Sabukaru online for events or content.
FP: Can you tell us about your origins in music, and your influences?
Jojo: I’m originally from Congo but I was born in France and grew up in the UK so I’m highly influenced by Afro-Caribbean sounds, and of course hip hop, the UK House scene.
Alex Nut: It goes as far back as i can remember, from my parents’ record collection, to Wolverhampton pirate radio, where i later ended up playing (big up Sky Line).. To the influences of early hip hop culture, graffiti, sound system culture, skating, dancing and digging for vinyl. Im old enough that vinyl was still the format of choice when i was a kid. Then i became a bit of a rave soldier, i’ve been out in clubs every week since i was 15, its just a part of who i am. When i moved to London i ended up getting a show on Rinse FM, which i did for 8 years before moving over to NTS. Plastic People was was my spiritual home, and was where i resided for a good number of years till it closed. That place was a huge influence on me and my musical journey.
vloQee: My mix is influenced by my surroundings and the music my friends create, with a strong emphasis on gabber, drum and bass, and trance, but on a daily basis, I primarily listen to jazz, hc-punk, and hip-hop.
FP: Can you tell us how your music links to the cities you reside in?
Jojo: My music is diversified, just like the city of Paris.
vloQee: My music is deeply connected to the Tokyo community, fueled by influential groups like Tokyovitamin, YAGI, and Sound Sports, who bring diverse musical styles and their unique energy to the city.
Footpatrol: Alex, how have you seen the uk music scene evolve over the years? and can you tell us about how you think sneaker culture shares similarities to musical culture?
Alex Nut: Well for better and for worse i’ve definitely seen it all grow from a grassroots, underground community of ‘heads’, to spreading far and wide, having a huge worldwide influence, to it all becoming a global business. But certainly in the early days of both the footwear and club scenes, it was very much a culture of digging. Things wern’t so easily obtainable, and it didn’t really involve having much money either,,, you didn’t have to go broke to buy kicks or records.. It was more who had the strongest passion, desire, style, and taste. In the early 90’s, much like digging for records, we would hear, word of mouth, about mom and pop sports stores with dead stock or rare gear in a neighboring town or city. There wasnt that many places to get cool kicks, it wasn’t really a mainstream phenomenon back then… much like the underground music scenes. The Jordan phenomenon definitely changed things a lot, but even then, in the UK it was still kinda limited to people with an interest in BasketBall or Hip Hop. Back then my interest was in finding Gazelle’s, Sambas, Puma States and high top Pony’s, which we would cut down and skate in. But later on the Air Max 95’s dropped and that changed everything, for a few years that was all anybody wanted.
FP: What is your favourite thing about music coming out of these cities?
Jojo: I think the rap scene because it’s people that had to learn the hard way on how to go from 0 to a 100 in this industry, with most of the time little budget.
Alex Nut: I can honestly say that some of my most favorite musical memories have been down at Plastic People, which for those who don’t know was an amazing small, basement club on Curtain Rd in East London. I would go to various different nights, on different days of the week. DBridge and Steve Spacek’s Blackpockets nights were really amazing. Co-Op was the night for Broken Beat with the likes of Dego, Seiji and IG Culture and i also got to see the early formation of Grime and Dubstep down there in the early 2000’s as a regular at FWD with very young and fresh faced DJ’s/MC’s like Skream, Skepta, Plastician, Wiley, D Double E,… luckily i eventually got to play down there myself. CDR would be on a Sunday, where producers could come and try their new, unreleased music on the incredible sound system. Which is where i met Floating Points. Theo Parrish had a monthly residency there also, which was always a really special night of music… i mean, for me, nothing has ever come close to what that club was, and what it did for the underground music scene. I feel blessed to have experienced it. But yeah there was loads of other wicked nights… i would regularly frequent Bar Rumba, Herbal, Fabric, The End etc. I never got to go to Metalheadz at Bluenote or see Soul II Soul at the Africa Centre.. Which i still have FOMO about.
vloQee: What makes Tokyo’s music scene fascinating for me is the constant influx of fresh releases across various genres, happening every week or maybe everyday.
Footpatrol: Alex, eglo Records, can you tell us a bit more about this and the origins?
Alex Nut: Same as above really, it all started as a result of crossing paths and making friends with people down at Plastic People. That’s where the label started. At this time i was on Rinse FM and working in music PR radio plugging, constantly on the look out for new music and meeting artists to bring to the radio show. And this is how i ended up crossing paths with Floating Points, Fatima and Funkienven aka Steven Julien. No one had put anything out yet, so the stars aligned and it all seemed to just make sense. Still to this day, no matter how far and wide we branch out, Plastic People still really informs the spirit of the label.
FP: Can you tell us any similarities between paris music scene and fashion scene?
Jojo: They go together, people like an artist for more than the music nowadays, they want to be able to relate to a state of mind, a lifestyle, a fashion sense, and of course the music first.
vloQee: What makes Tokyo’s music scene fascinating for me is the constant influx of fresh releases across various genres, happening every week or maybe everyday.
FP: If YOU were a sneaker, what would you be?
Jojo: Air Force 1
Alex Nut: Gotta go for an OG Addidas Gazelle, in green. They’re just solid, timeless kicks. No frills, but still steezy.
vloQee: Maybe Mars Yard, it’s rare but everyone knows about it
Footpatrol: Alex, you’ve played all over the world, How have you seen music that comes out of the UK connecting people?
Alex Nut: The UK is the one of best places in the world for creating club music, we’ve birthed Jungle, Broken Beat, UKG, Grime, and given our own fresh take on House and Techno. We’ve got that Sound System heritage, so the low end is important here. The scenes used to be a lot more tribal and separated but now i feel its a real mixed up melting pot. The club is a unifying force, and dance music is a positive form of creative expression, and a release for many people. It’s bridged communities and forged relationships all over the world. Created jobs and international travel. Its amazing.
FP: Do you have any shows coming up where people can come and see you? And where people can also listen to your mixes?
Jojo: Yeah Oct 20th Sixtion event in Paris, not to miss out on!
Alex Nut: We have our next Eglo Records party at Corsica Studios on 21st October with special guest Atjazz which we’re really looking forward to. I have a monthly show on NTS, and will soon be starting a new residency on Rinse FM again. If you’d liked to check out my mixes and shows head over to my Soundcloud page, I’ve got plenty of mixes up on Youtube also, dig in!
vloQee: Upcoming show this end of October and early November. You can listen some of my raw mix at mixcloud or soundcloud.
FP: Thank you for taking the time to chat to us! Are there any words of wisdom for people looking to start DJing? Or any shoutouts?
Jojo: S/O Sixtion!
Alex Nut: Yes i’d like to shout out Soul II Soul, The Wild Bunch, 4Hero, Marc Mac, Dego, Kaidi Tatham, Bugz In The Attic, Kool DJ Red Alert, Mark Pritchard, Goldie, Fabio & Grooverider, DJ Flight, Theo Parrish, Masters At Work, Jah Shaka, Channel One, Q-Tip, Benji B, J Rocc… the list is endless…. And my words of wisdom to anyone just starting out in DJ’ing… is to check out all of those names i mentioned above.
vloQee: Dan Wieden once said “just do it” and shoutout to Mr.Bianco who gives me the chances to do my first big set in Tokyo.
