Author: Bradley Martinez

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. 

For our most recent endeavour with Finnish brand Karhu, we took a deep dive into their archives in search of hidden treasures… 

We explored the vast array of nature that surrounds us here in the UK, to elevate our campaign. Taking a trip to the Isle of Skye our mission was to bring a strong visual experience that highlights the product and the heritage model our collaboration is inspired by.

Known for its varied landscape, the Isle of Skye is located on the west coast of Scotland and is a site of magnificent beauty. Pairing Skye’s aesthetics, with the collaborative over-garments creates a stylistic viewpoint on how to wear the apparel and the settings that they can be utilised within – helping us shape the heritable story the footwear shares with Karhu. 

Whether it’s through camping or general exploring, this visual guide looks to create a holistic insight into the things we find right under our noses, whilst at the same time, exploring the lesser known expansive back catalog of Karhu. 

Footpatrol & KARHU join forces on their third collaborative project working on the KARHU Fusion 2.0 silhouette.

With a long lineage and variety of products, Footpatrol took a deep dive into the KARHU archives in search of hidden treasures… They stumbled across the 1980s KARHU Snow boot, dubbed the ‘Snowstar’. The Snowstar boot was KARHU’s answer to warm running shoes for fitness enthusiasts for winter use, compiled of durable nylon material with split leather reinforcements, quick lacing system and a snow lock concealed within its velcro fastened shroud.

Taking inspiration from the Snowstar silhouette, Footpatrol have created a modernised, city-equivalent runner using the Fusion 2.0 model as the template, making the model a more durable, easy to wear offering equipped for today’s current trends.

Adding a mix of water repellent nylon material, smooth nubuck, rubberised panels and OG branding, this pair is Footpatrol’s vision of a hard-wearing city runner that keeps its inspiration firmly imprinted into the snow, as did its predecessor, the Snowstar boot. 

Our main source of inspiration for the tracksuit design was military inspired with an outdoor hiking theme. Rather than a traditional nylon shell tracksuit, on this occasion, we wanted to produce a multi-purpose garment. For this part of our collaboration, we enlisted the design expertise of SSSU brand founder Sasu Kauppi once more, to help bring our ideation into wearable garments. A few back-and-forth emails and a couple conference calls later, the result came in form of a two-piece offering – an over pant & half-zip anorak style jacket that could be worn over the wearer’s garments. 

The tracksuit construction consists of a durable Cotton Ripstop material with a water-resistant coating added to assist in keeping the wearer dry during harsh weather. The anorak jacket features a half-zip detail for easy pull over entry, with double needle top stitching is applied referencing military garments. Side pockets with a snap button closure are also added, with elasticated cuffs on the wrist and waist band (with drawcord details added to each side). A custom logo lock-up borrowing design elements from all three-brand logos sits beneath the anorak zipper. A final design detail we were imminent on including was a way to easily store the jacket. Our solution for this was to add a packable pocket to the back of the anorak complete with shoulder strap so the jacket can be packed into itself in the shape of a crossbody style bag. 

Continuing with the military inspiration, the over pant features the same double needle top stitching details, drawcord function on the waistband and ankle cuff so wearer can choose between straight or tapered ankle cuffs. Pleats have been added below & above the knee to add articulation to the garment. We included a double pocket construction to the side pockets. The entry of the pocket with the snap button & zipper closure is for the wearer to have access to their pockets on any pants worn underneath the over pant. The second pocket acts more of a traditional style pocket on the over pant. Finally, we added one more patch pocket with flap and snap button closure to the backside of the pant. This pocket features the tri-brand lock-up logo. 

Find the Footpatrol x Karhu Fusion 2.0 ‘Snowstar’ and tracksuit (sold as top and bottoms) will be launching in-store and online on 30.09.23 (Available online from 08:00AM BST), priced between £135 – £165.

New to Footpatrol, the latest offering from Merrell has just landed online!

Built on the foundations of the outdoors, Merrell have blown up on the lifestyle scene over the last few years with many thanks to the current outdoor trends that have seen the trail aesthetic hit the streets. Much like that of Salomon, Arcteryx and Oakley though, their focuses haven’t been swayed by these trends have continue to focus on delivering products with a purpose.

For their latest winter collection, continue to see the modern approach to their footwear offering that we’ve come to know. From the Agility Peak 5 Zero to the Hydro Moc, you know a Merrell Silhouette when you see one. This time however and with the upcoming winter conditions, we see a number of these silhouettes benefit from a strong GORE-TEX presence adding another piece of tech to make sure you’re well prepared.

Take a closer look at the collection below and why not check out the latest from Merrell online at Footpatrol here!

One of the biggest fashion trends over recent years has been the resurgence of the retro runner. Shimmering silvers, heavy gauge meshes and swooping lines have became a main stain feature for a number of brands and for Saucony, that offering comes in the name of the ProGrid OMNI 9.

With a return of two OG colour ways earlier this year, the American based sportswear brand now get into the winter spirit with this retro runner. Gone are the usual flecks of silver and instead, a stealth offering of ‘Triple Black’ is the go to recipe which now takes this classic 2010 silhouette and puts it firmly within the ‘gorpcore’ aesthetic.

Exclusively available at Footpatrol, you can shop the Saucony ProGrid OMNI 9 ‘Triple Black’ in-store and online here!

Last week, a few of the team had the opportunity to head down to Skepta’s Mains Spring ’24 runway show. You might be wondering why a London based sneaker store was in attendance however, if you look closely enough, you’ll soon get a sneak peak of something upcoming that was part of the show!

After four years, Mains came back with a bang with new chief designer Mikey Pearce and head graphic designer Johnson Orchid at the helm to help Skepta push the brand into a new direction focused around staple pieces.

Heavily focussed on a sportswear aesthetic, the show was filled with big logos, meshes and shimmering retro inspired tracksuits that all came together to make a cohesive collection but this wasn’t the only story on show. Cuban collared button ups, denim dungarees and motorbike leather two pieces hinted towards Hip Hops past and this was made clearer with a Tupac branded knits.

Away from the clothes was fashion weeks usual hotspot for the biggest in show business. From Stormzy to Headie One, Louis Theroux to Maisie Williams, JME walking the show all the way to fashion royalty, Naomi Campbell.

Take a closer look at the evenings events below and as we mentioned, take a close look at an upcoming project which we’ll be sharing more of over the coming months!