Author: Bradley Martinez
Deep within the Nike HQ, there is a skunkworks like team who’s mission is to ‘Improvise, Scavenge, Protect and Adapt’, otherwise know as ISPA. Often revolutionising Nike’s footwear offering with unique designs like the ISPA Flow or just outright experimental like the Road Warrior. Continuing a recent trend though, the team have once again lent their minds to come up with a new range of apparel items.
Utilising the latest in weather-resistant materials, this latest collection has you winter ready. From multilayered tops, a set of utilitarian trousers to the highlight of the collection, the jacket. Whilst resisting the wet and windy conditions, specially placed laser cut ventilation zones help to keep the body cool without restricting.
Take a closer look at the collection below and shop these styles online at Footpatrol here!
When it comes to subcultural affiliations, few footwear brands can boast a deeper connection than adidas. In fact, the German sportswear behemoth most likely stands alone with the most in that regard, and that’s without even mentioning the sheer variety and longevity of their influence. Now consolidated in the omnipresent ‘Originals’ subsidiary line, it’s easy to forget that the classic styles this collection now includes all initially emerged as high-performance trainers for their respective sports.
The Superstar was introduced in 1969 as a speciality basketball shoe, however quickly became a fashion and lifestyle mainstay by the ‘70s, thanks to its timeless aesthetic and eye-catching rubber ‘shell toe’. The 1980s saw the release of another on-court icon, the adidas Campus, reminiscent of the Superstar with its minimal construction, its large clean panelling allowing for bright colour combinations in either smooth or suede leather.
Fast forward to the eighties, and technical specifications for basketball footwear were developing expeditiously. It was a decade synonymous with iconic court kicks, not least the debut of the Air Jordan series, which adidas would aim to counter Nike’s growing influence by partnering with another outstanding basketball talent, Patrick Ewing.
Ewing was selected as the number one overall pick in the 1985 NBA Draft, and adidas subsequently signed him to a lucrative sneaker endorsement deal, releasing the Ewing Athletics line of basketball shoes in 1986. Ewing’s shoes helped adidas capitalise on the widespread appeal of athlete-endorsed sneakers such as the Air Jordan line, garnering a dedicated following. Coupled with the adidas Rivalry which launched the same year, the Ewing went on to emphasise the brand’s stature in the production of high-performance court footwear.
As sneakers started to become integrated into the everyday casual uniform of teenagers and young adults around this time, they inevitably took root in several burgeoning youth subcultures. As hip-hop came of age around the tail end of the 1980s, the three stripes became the essential sneaker brand for movers and shakers within the genre.
One of the key factors that contributed to adidas’ influence within hip-hop culture early on was its connection to the b-boy/girl and breakdancing scene. Breakdancers embraced the brand’s footwear, particularly the adidas Superstar, Gazelle and Campus. These sneakers not only provided the necessary comfort and durability for the dynamic dance moves, but also exuded a distinctive urban style that resonated with the hip-hop community, and their sleek designs with the already-iconic three stripes became a symbol of authenticity and self-expression for aspiring b-boys/girls around the world.
But adidas’ impact within hip hop extended beyond the dance floor. As well as their classic sneakers, the brand’s tracksuits, sweatshirts and accessories would all become staples of hip-hop fashion. Pioneering rap group Run-D.M.C. played a pivotal role in popularising the label within the subgenre. In fact, it could be argued the most enduring image associated with the ‘Old-School’ era of hip hop would be that of the Queens, NY group posing in their uniform of adidas Firebird tracksuits, laceless Superstars or Rivalrys, gold rope chains, and classic fedora or Kangol hats. Their groundbreaking 1986 single ‘My Adidas’ further cemented the brand’s status within hip-hop culture and led to the first-ever endorsement deal between a musical artist and a sportswear company.
Moving into the nineties, it was the turn of another trailblazing hip-hop act, the Beastie Boys, to carry the torch for adidas within the subculture. 1992’s ‘Check Your Head’ turned out to be a change of pace for the group not only musically, but also aesthetically. Its iconic album cover, shot by veteran hip-hop photographer Glen E. Freidman, showed Mike D sporting a pair of Campus, sparking legions of hip-hop fans to go out and grab a pair for themselves. Incidentally, Mike D was one of the figures behind streetwear originators XLARGE at the time, an LA-based label who were known for sourcing vintage deadstock adidas models to resell in their stores.
Hip-hop wasn’t America’s only burgeoning youth scene to adopt the three stripes early on. Over on the West Coast, skateboarding was rapidly gaining popularity amongst a section of thrill-seeking kids and young adults. Largely isolated from any official ties to mainstream sports companies, skaters of time had to make do with reappropriating casual footwear, largely styles designed for basketball and tennis, as skate-centric footwear was in limited offering, and harder to attain in a pre-internet retail landscape.
Skateboarders embraced certain adidas models such as the Campus, Stan Smith and the Superstar for their flat soles and robust construction, which made them suitable for the demands of skateboarding. The ridged rubber shell toes of the Superstar in particular, offered an excellent barrier against grip tape. These models’ blank uppers also provided skaters with a canvas to customise and express individuality, some would draw, paint or dye their shoes, or simply thread through phat laces. The brand became so popular that even the new skater-owned, made for skateboarding shoe brands began to rip off classic adidas designs for their own range. Etnies’ rotated ‘E’ logo is a direct reference to the classic Three Stripes branding, and Tim Gavin’s shoe for DVS took blatant design cues from the Stan Smith.
In the mid-1990s, adidas actively entered the skateboarding market by launching a dedicated skateboarding line under its ‘Equipment’ range. The brand recognised the skate community’s appreciation for Three Stripes’ heritage as well as the ever-evolving needs of skateboarding footwear and began producing skate-specific shoes with enhanced features like extra cushioning, reinforced toe caps, and improved board feel. It also eventually assembled a skate team which included legends Mark Gonzales and Lance Mountain, as well as exciting young pros such as Quim Cardona and Paulo Diaz, adding further credibility to the brand’s official skate venture.
As adidas’ profile within the skate industry expanded, so did its footwear offering. The brand initially made waves with the legendary phat-stripe cupsole styles Adimatic and Norton, but it would be the classics that still resonated strongly with skateboarders. Key ‘90s skate figures like Harold Hunter and Ryan Hickey were still being seen adidas classics like the Campus and Superstar, but this wasn’t going unnoticed at HQ, and the decision was made to revamp some of the icons, make them more skate-friendly, and have them sit alongside the newer, tech shoes the company was also putting out. Superstar became ‘Super Modified’, with rubberised stripes sitting lower down the upper around the ollie area to offer more resistance, whereas the low-key look of the Campus was channelled in the new ‘O’Reardon’ silhouette.
adidas’ skate integrity was cemented as the 2000s rolled around, and by the end of the decade, many riders were favouring a more classic, low-profile sneaker over the chunky silhouettes of the previous decade. This led to a surge in popularity for adidas models such as the Superstar, Stan Smith, Samba and Campus, as well as other indoor sport-referencing styles, which still make up the core skateboarding collection today.
In Europe, however, the adidas Samba was beginning to spin its unique legacy within subculture. Originating as a football trainer in 1950, the Samba’s sleek design and durable construction made it a preferred choice among sports fans and 1980s terrace culture enthusiasts. Terrace culture, particularly in Britain, was centred around the fashion and social scene surrounding football matches. One iteration of the Samba became synonymous with it, being embraced by football fans who sought to showcase their team loyalty and exhibit a distinct sense of casual style. Its iconic Three Stripes and retro aesthetic perfectly aligned with the minimal sensibilities of terrace fashion of the era, which largely incorporated high-end European labels as well as classic casual staples such as denim and military surplus gear.
This terrace association reinforced the Samba’s counter-culture identity, which had been brewing after being spotted on iconic musicians such as Bob Marley throughout the ‘60s and ‘70s. Along with Trimm Trabb and the Gazelle (1966) model, originally released in ‘68 as a multi-purpose training shoe, the Samba helped form the foundation for what’s now regarded as Europe’s first sneakerhead scene, where casual connoisseurs became avid collectors, hunting for rare and coveted adidas shoe models.
Technological advances in the design of athletic footwear would spell the beginning of a dormant period for terrace culture, however, consumer interest in classic adidas models in the UK would eventually overflow into the 1990s thanks to a link with an exciting new music scene: Britpop. The chart battle between flagship bands Oasis and Blur may have signified a north/south divide in the country but if there was one thing both bands and their listenership had in common, it was a penchant for classic adidas trainers.
The Gallagher brothers’ signature look of an anorak, jeans and adidas classics (Gazelle and the Samba) reverberated around the country during the Cool Britannia era, and the band’s connection with the Three Stripes has been strengthened with both frontmen each designing their own shoe for the Spezial line in recent years. Down south, Blur led the charge for terrace-inspired fashion, teaming pairs of adidas with Harrington jackets, straight-cut jeans and old-school tennis track tops. The group’s love for the brand even extended to at least two lyrical references, including a song titled ‘Trimm Trabb’, on their sixth album, 13, in 1999.
A recent spate of 1990s nostalgia within fashion has brought the adidas classics range back to the forefront of youth culture. In an era where subcultures of the past can coexist thanks to widely available documentation and a seamless connection among like-minded individuals by way of social media, styles like the Samba, Superstar, Rivalry, Gazelle and co. are experiencing a profound renaissance. The perpetual athleisure trend, along with the classic range’s expansive heritage has created a renewed appreciation for the timeless designs and cultural significance of adidas classics, once again making them a staple in today’s fashion sneaker realm.
Copy by Angus McLaughlin for Samutaro
A brand that probably doesn’t need an introduction due to its recent rise to fame within the current lifestyle fashion trends, BIRKENSTOCK actually have a far richer history with its roots going all the way back to 1774. Creators of the footbed way back in 1902, its perfected pieces of technology like this that have helped make BIRKENSTOCK known for the highest levels of comfort and it’s this trait which over the last couple of years have become an essential to peoples rotations.
Now available at Footpatrol, we introduce BIRKENSTOCK to our offering with one of their most favoured silhouettes, the Boston. With its simplistic design cues, the ability to slip on and off, the highest quality of materials and that all important footbed, the Boston is a fan favourite to be enjoyed both inside and outside the house.
Take a closer look at the ‘Mocha’ and ‘Mink’ colour ways and shop both these colour ways in-store and online at Footpatrol here.
Introducing ‘More than a Sneakerhead’ a bimonthly series in collaboration with Women In Sneakers. More than a Sneakerhead is a concept developed by WIS founder Steph HT debunking the limitations and stigmas applied to women in the industry. Running throughout the year, this project highlights some of the new faces within the community, all sharing a love of footwear!
South-London based Rachael Anson is a DJ/Future Executive Producer, and is next up on our ‘More than a Sneakerhead’ series.
“I think it’s a great time to be a woman. I feel like there’s so many opportunities, so many initiatives specifically for women to thrive.” Here bringing the good vibes and insight into the female sneaker industry, keep reading to find out Rachael’s views on the future of the industry.
When it comes to levelling the playing field for women, Rachael believes that brands need to “put more women in charge; and if you are using women creatives, give them freedom and the support to do what they need to do, or what they feel they want to do. Let us do what we know we can do.”
We also asked Rachael about her thoughts on the future of the industry… “I won’t be able to say what I think the future is. But one thing I do know is that it doesn’t stop this culture, because I know for me personally, sneakers and streetwear meant a lot to my childhood. So I feel like the cycle will continue; It’s gonna mean something to another kid, another child, and then the legacy continues.
In terms of brands and designers that are exciting to me right now, I have to say Bianca Saunders – she’s killing it – and I love the fact that she’s a black woman killing it in the fashion industry. She’s super dope.
I’m really digging the hype that New Balances is getting. I’m a big fan of the Protection Pack – I’m trying to collect all of them. So New Balance, if you hear this!
I’ve realised how important representation is for young people. When we were growing up, we had the likes of So Solid crew, and it was so sick to see them on TV because we knew that they were from South London. I’m from South London, so, for me, I remember a feeling of like, ‘I want to do that’, or ‘I can be that’, ‘I can do what they’re doing.’
I’m more than a sneakerhead because I’m Rachael and I love sneakers my way, and yeah man, I bring my vibe and I bring my energy. And what more can I say? Women are killing it. Yeah, women are killing it.”
The ASICS GEL-KAYANO line up has been an offering within the Japanese sportswear brand for 30 years. A silhouette that’s gone through many iterations, designs and innovations for 2023 ASICS look to celebrate this with the introduction of the GEL-KAYANO LEGACY.
Whilst out in Japan, we had the opportunity of delving deeper into the GEL-KAYANO by sitting down with its original designer, Toshikazu Kayano and the designer of the GEL-KAYANO Legacy, Yuuki Okumura. Whilst there, Toshikazu taught us all about the original inspirations behind the shoe which over the years have seen the silhouette transition, keeping up with trends and modern technology whilst always bringing a new lease of life to the silhouette. Now, thirty years on, the GEL-KAYANO LEGACY is here.
Video by _jbyrnes
A celebration of both the past and the present, the Legacy is a coming together of multiple silhouettes highlighting specific details and it all starts at the base. The instantly recognisable GEL-KAYANO 14 midsole sits below a mountain of details that hark back to Toshikazu’s original design features and they all come together for one big celebration.
Check out our interviews with Toshikazu Kayano and Yuuki Okumura below and check out the GEL-KAYANO LEGACY in-store and online here.
Celebrating the launch of the Air Max 1 86 ‘Obsidian’, we headed on down to pay a visit to London based glass studio, Michael Ruh.
The story of the Air Max 1 86 is a rich one. One that’s steeped in trial, failure and finally success. Something that is all too often when working with a delicate material like glass. Known as ‘Big Bubble’, we took this latest ‘Obsidian’ colour way down to Michael to check out his work and how the connection between his practice and this sneaker are greater than first meets the eye.
Footpatrol: Michael, thanks for letting us come down and visit your studio, it’s great to finally meet you. To kick things off, how are you?
Michael Ruh: Hot! The ambient temperature in the studio is probably around 30 degrees throughout the year. During the summer months it can get even hotter.
FP: For those members of our audience who may not have come across your work yet, could you give a bit of background to you, your practice and perhaps a bit of your journey to how you got to where you are now?
MR: I studied fine arts at university. During that time I came across a glass blowing studio. I was mesmerised. A long time later I had the opportunity to attend an applied arts school in Belgium that had a glass department. My work is greatly influenced by my earliest interests from that time. I’ve always been interested by process, the movement and change of light, the changing of the seasons, transience, and anchoring memory to colour, light and landscape. For the most part I make utilitarian objects, but those objects are greatly informed by my memories of colour.
FP: So, glassblowing. Where do we start? A traditional craft that has been explored and experimented with for centuries, we noticed with your work you’re often creating modern art form like pieces with unique, eye-catching shapes. Where do you find your inspirations when tackling a new project?
MR: Inspiration for new projects? Most of our projects begin with a conversation, the discussion of function or the purpose or use of an object, and how that object will influence the ambience of where it is to be placed. We converse with designers or architects involved in the projects, and often what I am most inspired by are sometimes just a few words. I love that moment of creating something tangible and visible from a conversation. Making thoughts visible, so to say.
FP: The real reason we’re visiting you is for the latest launch of Nike’s Air Max 1 86 ‘Obsidian’. Known as the ‘Big Bubble’, this shoe originally didn’t launch due to the lack of technology to make its massive Air Unit a thing which led to the iconic Air Max 1. This window led us to think of glassblowing and the technical, delicate skill involved. What are some of the processes involved to make sure each piece is a success?
MR: Success depends upon teamwork! Glass blowing is rarely a solo pursuit. The assistants in my team are the people who make it happen too. They are auxiliary hands and eyes, so to speak. I’ve got the idea of where I want to go with the piece,and I’m driving the output, but their perspectives on how the piece is developing is essential to know. With glass making, a great assistant makes the piece with me, they will notice what I need next without being told and are with me from start to finish all the way. Success is never an accident, and everyone involved in the process needs to be fully engaged. Doing things over and over again until physical fluency is gained is paramount and it takes years to gain the necessary skill set. Glassblowing is not only about delicate skill, sometimes it is also just about hauling a heavy, awkward amount of glass around, blowing a big bubble, and stubbornly not quitting until the piece is finished.
It’s funny the Air Max 1 86 is called ‘Obsidian’ Obsidian is volcanic glass, and any object made of hollow glass starts its’ life as a “big bubble”.
FP: Previously when we’ve done ‘Footpatrol Discussions’, it’s often included some type of art form. From painters, to illustrators to ceramists but what is it about Glassblowing that made you want to work with glass as your medium?
MR: The first time I made something in glass, I was completely mesmerised by the material, and the process of glass making. The basic and elemental nature of glass making is very appealing to me. By simple and minimal means glass is made, and that process has remained unchanged since its discovery over two thousand years ago.
FP: Do you intend all of your pieces to have some sort of functionality? From the Birch Community Lights, to Perfumer H flasks to the glassware/pourers, each piece seems to have that secondary element that needs to be throughout.
MR: Initially everything I made was nonfunctional. The more skills I gained, the more functional my work became. I’ve always tried to make work that expresses my interests while answering the remit of a commercial commission. I am quite specific about colour and shape, and always include some process which is not necessarily apparent, but strongly influences the look and outcome of the piece. I did not initially set out to solely focus on on functional ware, but that is how my career has evolved.
FP: When it comes to recycling glass, what is the process of reusing this? We saw on your Instagram you were meticulously picking out the non-coloured glass to the coloured glass. Is it as simple as melting this back down to be reused? Is there a different end effect when using recycled glass?
MR: We separate out the coloured glass from the clear glass, and we simply remelt the clear shards in the furnace together with the recycled glass lenses we use. When we melt glass in our furnace for production use, it’s brought up to a very high temperature so any air bubbles can work their way to the surface and dissipate. It’s all pretty straight forward.
We’ve been saving our coloured glass to melt separately. We’re not sure what the resulting colour will look like, but when we do use the coloured glass it will be unique. We need a project that will require us to use lots of glass, like making glass tiles for room dividers, or window treatments. We are thinking of a range of cast glass serving ware and bar ware to use up our coloured glass. I’ve also got some ideas for a new range of lighting that will utilise the coloured shards we’ve been keeping. Any of your readers out there with some ideas?
FP: Well, I think that that is it from us at Footpatrol. This last question is always left open to the interviewee with an opportunity to share any words of wisdom with our audience or a chance to share any upcoming projects you’re working on so again, thank you for having us and look forward to seeing more of your work!
MR: Words of wisdom? Ha ha…stay humble!
Try to accept failure, and learn the lesson it teaches you. Just stick with your work and keep going, it’s not always joyful inspiration and effortless expression. Some days are just a hard slog. You cannot be who you are not, and this will be reflected in your work. Speak your own language.
We hope to be able to share with all of you another exciting hotel project we’re working on. It’s going to be beautiful!
An icon of the street, the Air Max plus TN surfaces once again with aggressive styling cues staying true to itself. Originally designed way backing ’98, the AM Plus is a Sean McDowell design silhouette which aimed to create a Tuned Air shoe with a runners aesthetic.
That however, was easier said than done. With what is now a cult status attached to it, the Air Max Plus didn’t start off life with ease. This all began with the challenge of using their latest Max Air unit which implemented two opposing hemispheres to evolve the idea of cushioning. It’s easy to forget it was originally designed for running however, it’s now a frequent go to for those attending fashion weeks due to its unique appearance. For a lot of the design cues featured throughout, we have Florida to thank for that. From a whale fin inspired shank to the now iconic gradient upper, it all stems from what he was seeing during his time there. Originally dubbed ‘Sky Air’, this was a trigger for McDowell which led him to think about the amazing colours Floridas sunrise/sunsets delivered and often played with blues and purples to replicate this.
Now a mainstay within the Nike lineage and with hundreds of colour ways through its rich history, the latest set of Air Max Plus have landed at Footpatrol including the ‘Light Photography’.
For our latest Frequent Players, Timma T takes us on a 140bpm ride with the sounds of grime, dubstep and baseline.
Underground radio stations, his own record label and event, Timma T is definitely putting his stamp on Birmingham. We caught up with him to talk everything from his most memorable moments, to what got him into music.
Footpatrol: Hey Timma, Hope you’re good? Thanks for taking the time to chat with us. Could you start by telling us a bit about yourself and what it is you do?
Timma: Yes guys, i’m all good thank you for shouting me to be a part of this. I’m Timma T 27, 0121 born and raised. I’m a DJ and producer, a specialist in 140 bpm music. I’m currently starting a new chapter in life by starting university studying sound engineering and audio production, on the side I work at Size?.
Footpatrol: How did you first get into DJing, and what inspired you to start producing?
Timma: I started djing in 2012/13 all my friends were djing and a couple of them had a radio show on a Birmingham station called Silk City. I would go to the station and just watch and found it amazing so I expressed an interest and they let me play a couple riddims and the rest is history, I got introduced to a whole new world I never knew existed. My good friends Horrickle and Gallah introduced me to the world of underground music, firstly being riddim dubstep and then UK funky. I then put in the practice hours and eventually got my own show and then started playing out in the Birmingham scene. Production is pretty much the same story, Gallah, Horrickle, Anton Stranger and Esstee, I have to big up each of these man for helping me on my production journey, showing me the basics and giving me constructive criticism which has allowed me to be the producer I am today.
Footpatrol: Can you describe your favorite or most memorable DJ performance?
Timma: This one is a hard one. I would say I have one favorite and one memorable. My favorite was definitely Outlook UK last year, big shouts to my family Minor Formula who put me on the line up. I was on the Kickers stage and a couple days before i saw a couple of the best Mc’s in scene and asked them if they would be down to come and shell down with me. I started the set and by the 2nd tune i turned around and Logan, Duppy, Joe Fire, JoSoSick, Blacklike Tintz and Doni Rampage were there mic in hand and ready to shell and they did not hold back. Considering it was on the smallest stages at the festival we got the place absolutely jumping and gathered a big crowd. Most Memorable was in Birmingham and a Bacardi event called Casa Bacardi, which was meant to be a simple warm set turned in to something much bigger, The line up was stacked Kojo Funds, Stefflon Don, Swifta Beater, Dapz On The Map and Roxxxan. I did my set and got approached by the promoter asking if i had any of Kojo’s riddims and i had a few, she then asked me if i would be able to play for him. I ran to my studio and downloaded the rest of the riddims i needed headed back and djed for him which was an incredible show i then stayed on decks and warmed up for Stefflon Don. That is one night ill definitely not forget i stayed in contact with the promoter who then got me on their next event where i warmed up for Mr Eazi, Afro B and P Monatana big up Bacardi shout me haha.
Footpatrol: What is your approach to selecting tracks, do you plan your mixes or do you go off the crowd?
Timma: Wouldn’t really say i have a plan i mostly go off what i’m feeling, i suppose sometimes i think of two tracks that go well together or two tracks that i will be able to chop together to create a whole new track. When i comes to radio i try find new music and try to out them on the show, in the same breath music just comes and goes so fast, so what i like to do is go back and remind people of amazing music that has come out.
Footpatrol: Can you tell us more about ‘One More Riddim?
Timma: OneMoreRiddim is a brand new record label coming out of Birmingham. It started the end of last year with the first ep being a track i made called ‘Darnce Dun’ and then entrusted that help of my friends, Gallah, Lotus, Felix Dubs, Delta, Horrickle, Robbo & Goosensei who all have made names for themselves in the scene by making amazing music. All of these guys did a remix of the riddim in their own unique style and all being from Birmingham this was the perfect way to start this Birmingham label.
From then we’ve put out 4 more releases including releases from Demtew, Lotus, Dunman and an upcoming feature from Newbaan, we’ve got one more planned for the end of the year and then we will be in the planning stage for next year.
We’ve also started getting into the events game, Birmingham being the second city looking at the scene and seeing there wasn’t a 140 event we knew we had to step in and make a change. 17th June we put our first event on at an amazing venue Hare and Hounds, we got arguably the king of grime Sir Spyro in for the first event alongside some amazing local talent. The event was a complete success and the feedback we received from the people that attended the event was incredible. This past weekend we put on our second event with the one and only Coki which again was massively successful. This label and event is exactly what Birmingham needs and we will continue to provide for the city we know and love.
Our Next event will be a collab in Nottingham with label Certi records and group Anti Social Services 13th October and after that our next solo event will be at the Hare and Hounds Birmingham 30th March so we hope to see you there!
Footpatrol: Out of all the genres you play, what is your favorite?
Timma: Well that’s a tough one because i live and breath 140BPM first thing in the morning listening to old Sir Spyro sets, on the way to work or uni listening to Shiverz Da Butcher and then when i’m at home listening to more mellow stuff like Von D it’s always 140 but if I HAD to pick a genre it would be dubstep. Within 140 that was my first love especially the sub genre Riddim that’s what first got me into underground dubstep and still influences me today, as a whole a feel every genre has different styles and feels within itself but i feel i connect with dubstep on a deeper level as it is so diverse and there’s a riddim out there for any moment or feeling that your having.
Footpatrol: We have heard you on your ‘Reprezent’ Radio show, do you have any other shows lined up?
Timma: You can catch me at OneMoreRiddim X Certi Records X Anti Social Services 13th October in Nottingham. I have also just got the next date for OneMoreRiddims next solo show in Birmingham which will be 30th March. Other then that i having got anything planned got some stuff booked in for next year but ill let that come to light closer the time.
Footpatrol: Are there any emerging genres that you’re particularly excited about incorporating into your sets in the future?
Timma: I wouldn’t say emerging is more re-emerging. I’m excited about Riddim dubstep being more widely accepted. This sub genre which got me into underground music was kind of a niche sound here in the UK i believe but over in the states and Europe the scene has been going crazy for years and years but now your starting to see more and more DJ’s play it in their sets and the sound is now being accepted for the art form that it is rather than people just saying it’s just a load of noise.
Footpatrol: A question we saw you asking on social media, you can play one more song, what would it be?
Timma: I think it would have to be Von D ft PhePhe – Show Me this riddim was shown to me by my good friend Horrickle at the very start of my career and it introduced me to beautiful dubstep. I call tracks like that motorway riddims, saying that i’m starting a mix series on my Soundcloud called Motorway Riddims and it’s going to be full of riddims like this just beautiful riddims that have beautiful melodies, sounds, drums with an undertone of greeze. I love at the end of the night when you’re traveling back on the motorway and no one is speaking and no one can be bothered to be a selector. I want people to just put these mixes on and just be in the moment to just feel the music.
Footpatrol: If you were a shoe, what shoe would you be?
Timma: This one is easy Asics Gel Lyte iii all day this is the shoe that got me into collecting, currently sitting on 18 pairs. The confort on these is crazy, just the look of it is so unique compared to everything else on the market and unlike other brands the quality is always 100%.
Footpatrol: We appreciate you taking the time to chat to us, are there any shoutouts or anything coming up you’d like to share with us?
Timma: I appreciate you guys shouting at me and giving me this opportunity to showcase myself. Just big up to everyone that supports me, supports OneMoreRiddim and you can catch me 13th October Nottingham and then for next year 30th March at OneMoreRiddim.
Continuing our Originals story with adidas, last weekend we ventured down to the adidas Greek Street Store pop up to host a panel talk focussing around Originals, cultural moments and the UK Hip Hop scene.
Alongside the face of our campaign Benji, AKA Blunt Shank, we also had Gary Aspden and Jon Green as well as Samuatro who played host.
The evening started with a look around the archival space upstairs in the pop up. Here wasn’t only an adidas heads dream, but anyone into sneakers could walk in and marvel at what was on show. From a complete signed cabinet of Superstars from the likes of Nas, Jay-Z to Mos Def and P-Diddy all the way through to collaborations from old to new. This room was a showcase of what Originals has been about and what their story will continue to be.
After this, it was time for the talk. With Gary Aspden leading up from an adidas point-of-view, the audience also got to meet Benji and Jon Green. Two people rooted within the UK’s Hip Hop scene with ties back to music, sneakers and even pirate radio.
Take a closer look below at the evenings events and why not take a look back at our feature with Benji here.
This month saw adidas redefine Originals. Retelling the Originals story throughout the month, they’ve worked with a host of communities and stores to tell their own stories of this famed franchise and what is meant to those who have grown up surrounded by The Three Stripes.
For us, we’ve always come to know the Originals line within sport and music so to celebrate, we caught up with Benji Blunt, otherwise known as Blunt Shank. Having grown up within the UK Hip Hop scene, DJing and even teaching Music Technology, Benji grew his love of adidas and their Superstar silhouette by creating bespoke and customs.
We caught up with Benji down at the Manchester Hip Hop Archive exhibition to learn more about him, his love of music and of course, adidas Originals.
Footpatrol: Hey benji, thanks for taking the time to join us at Footpatrol and being the face of our Originals campaign. Firstly and most importantly, how are you?
Benji: I’m a busy bee at the moment. Squeezing as much out of myself as I can, but ensuring the juice is quality. Thanks for including me in your campaign, it’s good to know that the work reaches people.
FP: For those who may be new to the world of ‘Blunt Shank’, could you delve into a bit about yourself and what Blunt Shank is and how it started?
Benji: I trained as a teacher and spent many years working with young people teaching Music Technology and DJing. I DJ’d and promoted my own club nights too. I had been exploring trainer customisation with young people, through an Art course I taught in a prison. I was there to teach Music Tech, but as I had a background in Art, I was persuaded to teach that too. When my wife and I had kids, I stayed home and began hustling as a customiser, painting mostly adidas Superstars. Away from work, I found myself in an online community of Superstar lovers and they supported my work. I was always striving for a factory look and realised I was fed up with painting over stitches, or being constrained by a base shoe’s limitations. So, by rebranding as Blunt Shank, I was able to draw a bold line separating what I had done before and what I wanted to become. Blunt Shank makes handmade trainers, professionally restores vintage classics, rebrands and flips for the industry and, most importantly, teaches through workshops and tutorials.
To do this I had to learn as much as I could about designing, patterns, cutting, stitching, lasting and soling.. It’s a long learning process. Most shoemakers say it might take ten years before you make a great pair! Back then, there weren’t many places to learn the craft and shoemaking seemed a little secretive, like The Magic Circle. Far from how open things are now, with you tube tutorials and online courses. It was a process of trial and error. Luckily for me there are some great shoemakers out there who will share and take the time to help. But you really have to push yourself, cut stuff up and put it together. Learning the whole time. The most valuable lesson I have learned over the years is that there are many ways to approach stuff, you need to be open to all. We live in a time of invention and there’s nothing wrong with reinventing stuff. If it works it works..
Today, I work on commissions, for individuals and brands. I share a lot of what I’ve picked up in workshops and tutorials and still customise and restore the odd pair for collectors.
FP: So, we’re working with you to retell the story of adidas Originals but we’d love to hear what Originals means to you!
Benji: Originals is all about storytelling, I see it in the brand’s media output, but it’s tapping into something that’s been there for time. ‘Originals’ really feels like it belongs to the people and their histories. If you’re of my age, you grew up with the Trefoil. The stripes, the lines and the shapes, make up part of your identity and shared experience. As a kid it was an aspirational thing, associating yourself with an athlete, a Hip Hop Icon, a skater, a crew. Looking back at the 80s and 90s, you see the Trefoil was ever present, with whatever you were doing. Today, in our house, my sons can’t help but breathe that cultural heritage.
FP: There were many reasons why you stood out to us to help tell the Originals campaign. From your ‘Blunt Shank’ work that heavily features the Three Stripes through to your history within the UK Hip Hop scene. Could you tell us a bit about how you came to be heavily involved within this scene?
Benji: I wasn’t a key person in the formation of Hip Hop Culture in the UK. I was maybe a few years younger than those at the cusp of the movement, but one of many, growing up on council estates in the 70’s and 80’s. Hip Hop hit me like it hit many kids, up and down the country. I didn’t come from a typical family background and Hip Hop culture was like a doorway to express myself; be an individual but still belong to something powerful. The previous generation were Punks, Mods, Rastas and Skins and that was their thing. The music, the art and fashion of Hip Hop was for me.
We were obsessed with everything that was coming over from the States; BMX and Skateboarding, Graffiti, Locking and popping, the fashion.. We’d lose our shit over a piece of cardboard a BMX came in. Because not only did we get a bike, but a dancefloor too! I should say, very few of us ever got a new bike. More likely, we’d bus-a-move on fridge packaging. Lino was posh! Me and my friends would emulate our elders and anything we could see on music videos or in films. We would steal paint from car shops and attempt our first pieces, imitating artists like ‘Pride’ who we saw painting under the Western Avenue. We would clear tables at school at wet breaktime to hold our version of break cyphers. We would go down to Covent Garden to watch lads (a little bit older) busk as b-boys, and the GLC would support creative workshops in the community, such as Rap Attack at The Shaw Theatre. We spent a lot of weekends locating spots in London to buy belt buckles, Kangols, ski goggles and racoon tails.. Places like ‘American Classics’ on Kings Road and Kensington High Street Market. The thing is, a bit like Punk, we were free to create a style of our own, free to customise, to stand out. The culture encouraged you to mix and mash shit up. You could create your own ‘Fresh’. This defines what the culture gave me. We took what was around, chopped it up and we fucking ran with it. There would be no breakbeat rave or Jungle without Hip Hop. I would say that we weren’t old enough to be leaders of these things, but we learned the path from the elders around us. They created the blueprint. What I do with superstars is a natural progression from all that stuff around me as a kid.
FP: We know with adidas and the likes of the Superstar, it was often featured within Hip Hop videos but is there a particular memory for you between adidas and music that stands out?
Benji: Some of the first records I owned had the artists in Superstars or Pro Models on the cover art. People like The Fat Boys and Run DMC were a departure from Grandmaster Melle Mel and the Furious Five. These guys were in tracksuits and trainers, not cowboy boots. You’d often get compilation LPs of music from the States, that had amazing illustrated covers. You’d see the three stripes represented in a graffiti style. The Superstar I knew at the time was all over these things as well as on walls, trains and the feet of people in movies. The lines of the shell were often exaggerated on illustrated characters. They were an ideal for me, long before I ever owned a pair. I think it was this graphic representation of the shoe that has been of most influence on me. I think there were one or two kids at school that had been over to the States and had a pair, but the rest of us couldn’t get a pair. So we would make fat laces to wear in other adidas Tennis models. But none of them ever came close.
FP: We noticed you have RUN-DMC under your previous clients on your website, how did this opportunity come about?
Benji: I had been painting Superstars for some time and a friend of the Run DMC brand invited me to meet with the management in London, where the group was performing. Firstly, I should say that I was absolutely honoured. I saw Run DMC on their first tour of the UK at Hammersmith, got an LP signed and everything. So to be asked to meet with the brand 30 years later, because they had noticed my stuff, was amazing. I felt a bit like I was representing the shell toe fan base. I was asked to meet in London and come with a range of designs to present for their collaboration with adidas. I worked up a few designs which they then presented to adi. It didn’t work out unfortunately. Mainly due to timing I’m told. But, I hand made prototype shelltoes of my designs anyway and some of these found their way to a recent exhibition in NYC for the 50th. The design work I offered was about storytelling and that resonated with Run DMC management. The designs were drawn from memories of the early days, The Raising Hell tour in particular, but I also tried to put myself in the head of a young Run, DMC and JMJ and what they would have wanted back then. I designed a pair based on a Double V goose jacket that resonated with them. It was a great experience early in my handmade journey. Importantly, the meeting opened a dialogue with them about the classic shoe, which continues still.
FP: Back to your work, what is it about adidas silhouettes that make them such a go to sneaker to work on?
Benji: It’s what I wore. It’s what was illustrated. I couldn’t paint anything else really. I mean, I wore others, Hi Tec, PUMA, Fila, Ellese, Converse, even Pony. But adi was the first love. Starting with my adidas Leader to my Nastase Super, with a few in between. Superstars I couldn’t get for many years. When they reemerged with a bang in the late 90s. I was all in. To customise them was to make each pair unique and fresh. You could customise any shoe, but when you customise a Hip Hop icon like the Superstar, it feels authentic.
FP: Touching back on music and adidas, we know that you also have a history within the UK breaking scene. How did this come about?
Benji: Haha. No, no, no. I was a very determined and very bad breaker. I could lock a bit and do some basic breaking. But I was no real b-boy. Cyphering in the school field, or on the estate was just standard back then. We all did it, good or bad. Learning from vhs and watching TV. Within my peer group there were some amazing dancers, mostly lockers and poppers, but I was never that good. I think breaking was the hardest to get real good at. Back then we tried all the Hip Hop disciplines. I think you find that with lots from my generation. We’ve all done some graff, danced, emceed and Dj’d. Switching from one to another with varying degrees of success. I knew emcees that danced for visiting Hip Hop artists and DJs that emceed. I see what I do now as an extension of that creative mindset. I mean, we always customised our outfits to stand out and now I do that with trainers.
The main reason I am so interested in breaking now, is that my son is breaking and he has rekindled this fire, from deep within me. It’s crazy. Bringing so many memories back, reminding me of the core values and etiquette of the dance. It’s such an amazing part of Hip Hop Culture. He has a real talent for it and he is being creative with it, adding his own flavour. That’s what kills it for me.
FP: Do you see a connection between breaking and adidas and how do you see this developing in the future?
Benji: Breaking and Hip Hop generally, adopted adidas! I don’t think adidas has any real say in it haha.. That’s why the connection is so strong. It belongs to the kids bustin’ out. Who’s adidas? My adidas! I know adi will ride the breakin’ wave that is coming. It’s going to be big.
FP: Huge thanks for joining us and we’re looking forward to hearing more at our live panel talk on the 24th. We normally leave this final question up to the interviewee to shed any light on any upcoming projects or any words of wisdom you may have for our audience…
Benji: I want to hear the stories from those who never told them. Those grandads and grandmas that shaped the way, learned the lessons so the kids don’t have to. Time to pass that wealth on. 50 years of Hip Hop is a very long time. Each one teach one and all that.
