Author: Bradley Martinez

During these times of lockdown, over at Footpatrol we’ve been looking back at past projects and the people that sat behind the scenes throughout these projects. Kicking off this new series, we wanted to look back at those agencies that we’ve had the pleasure of sharing these projects with and see what goes on behind the scene’s to bring these visions to reality.

First up in this series are our good friends over at Breaks Agency. Having worked with Footpatrol from the beginning, Breaks have been on hand to oversee a wide range of our projects here at Footpatrol, from our adidas EQT video, to the Nike Air Max 95 ‘110’.

To learn more about this process, we caught up with Tom, founder of Breaks Agency who sat down with us to run us through the process that comes with bringing these concepts, to reality.

Keep a look out for more of these interviews coming soon and make sure to check out more of Breaks work here!

Footpatrol: Hey Tom how are you? Thank you for taking the time to talk to us today! We have worked together in the past and know all about you but for our audience can you give them a little insight into yourself and what it is you do?

Tom: Of course! I founded Breaks, an independent creative agency based in London that I run with my brother. What started as me on my own working from a friends office has evolved into a trusted studio in the centre of Shoreditch that creates and delivers large-scale campaigns for the likes of Nike, Dr. Martens, Barbour, Champion, New Balance and ClassPass. 

A lot of our early work was with Footpatrol and we used to get to work on a lot of the collaborations you guys did. An early favourite of mine was the Karhu collaboration where we did a stop motion that involved slowly felling a tree in our mates studio. Took all day and made the place stink with petrol fumes. It never clicked with us that using a petrol chainsaw in a non-ventilated studio might be an issue. 

Basically, if you’re launching a new trainer or collection, we’re often the guys who are creating the launch campaign. 

FP: How did you go about starting the agency? And what difficulties did you have at the beginning?

Tom: The agency started just under 5 years ago officially, but it had been bubbling away in tandem a year or two prior alongside ‘Breaks Magazine’, an endeavour I ran at the time with the help of some friends. The magazine’s goal was to create wholly original content – mainly lengthy interviews – around music, street culture and skateboarding. It functioned in a magazine format – in issues – but released online without losing any of the user-friendly aesthetic of a blog. We featured a plethora of streetwear brand owners and were running parties with Red Bull to launch each issue, which is how our first ‘big’ project came about – working on the Converse x Footpatrol ‘Breakpoint’ release. 

Five years ago in February, someone from Converse who came to our launch parties approached us to work on the Breakpoint project and produce the launch event for the shoe with Footpatrol. This is where I met you guys properly. From there, John [Brotherhood, head of Footpatrol] asked me to help you guys launch the Footpatrol ‘Hotstepper’ collaboration with Reebok, shooting the campaign and producing the launch party. 

I still had a full time job at this point and was doing both at once, but once the Reebok project came through in May 2015 I handed in my notice and started Breaks full time. I haven’t looked back since. I have to give John credit for this as he was an early supporter of ours and he was always on hand for advice and wisdom. I owe him a lot. 

The main difficulty in those days was money, we didn’t have any investment (and still don’t) so it got quite hand to mouth at points. Invoice to invoice. But you learn to weather it and you learn to make it work. Those were brilliant days, complete blind ignorance to the challenges that lay ahead, almost carefree. I loved it. 

FP: What were you doing prior? Was it a creative job? Freelance? Or something completely different? 

Tom: My CV is all sort of in the same vein; I worked for Red Bull in events during university and when I graduated I moved to London to work for a digital agency that had Red Bull as a client. I spent over four years there and in that time the agency got bought by a much larger global advertising agency called Leo Burnett and I got to see what working on huge campaigns was like and navigating large corporate worlds with loads of stakeholders and opinions on creativity. 

I hated the big agency part of it and my experience of that definitely motivated me to start Breaks in my own image; an independent creative agency that would be the ideal place of work for myself and my brother, for us to work on projects we were passionate about, rather than sat in all agency meetings discussing how a protein yoghurt would talk on social media (true story; that’s a real meeting I was in). 

FP: What we would like to know is how you get from concept to reality. Would you be able to choose ONE project that you have worked on and summarise into 5 steps the process from the client’s initial email to what the consumer sees?

Tom: Most projects are similar in how they play out so I can break it down into some steps here. These are mainly true for most with very little deviation, but it’s astonishing how some can play out wildly different to others. 

1. Receive the brief from the client. From here we’re pulling it apart in our team, batting ideas around and having fantastical ideas about what we could produce. My job is usually to rein people in, but often we’ve been allowed to run wild which is incredible to have that trust from clients. The aim here is to meet the brief (sell the product), but also try to do something you’ve never done before that stretches the limit of what we’d be allowed to do. Somewhere in the middle of that is the sweet spot. 

2. These ideas get written up and streamlined into a deck. Anyone not familiar with a deck it’s basically a PDF that lays out everything you plan to do. In advertising, everything ever is communicated in a deck. We create decks about decks. Decks haunt me in my sleep. 

3. They get presented to the client – always in person, never over the phone if you can help it. The client feeds back. We’ve either hit the brief or not, they have thoughts, we need to change bits. We repeat points 2 and 3 over and over again until both parties are happy or both of us go mad. Whichever comes first. 

4. Once we’re all in agreement, we go off and make it. Whether it’s a shoot, an animation, some design work, whatever it is, we go and bring it to life. We’re really lucky to work with some amazing creators who help us with this and we’ve built some really strong relationships over the years and travelled to some amazing places. 

5. We deliver the content, in whatever form that is. Depending on the project, this can be lengthy. We do a lot of our post-production in house and we’re often delivering our ‘hero’ image to the client in 45 different crops for email banners, digital retail screens, social media etc. It’s a big job! 

FP: Would you have any advice that you could share with our readers? 

Tom: Listen to as much advice as you can – you can never learn too much. You don’t have to act on any of it, but it will help shape your opinion on the problem at hand. Always do what’s right for you and always trust your gut. 

Also, don’t be a dick. It’s a really easy business mantra but you’d be surprised at the amount of people I’ve met along the way that can’t follow this simple rule. Keep your ego in check. 

FP: How you are coping with the current lockdown. Is there anything particular that’s keeping you going?

Tom: I’m relishing the time to either run or cycle every day, the serotonin from that is keeping me going. 

FP: And finally as it was trainers that brought all us together originally – what would you say is your staple go to for the following:

Tom: Working out – Usually an old pair of Nike Lunar Epic Flyknit 2’s but I’ve got some New balance 880s on the way to switch it up 

Casual every day – New Balance 860v2’s or Nike Vomero 5’s 

Impressing someone – Nike AM95 110’s, or Nike SB Infrared Dunk Low’s – both were impossible to get hold of this year. 

Staying at home – Now we’re on lockdown its Suicoke Moto-CAB’s or Birkenstock Bostons all day every day 

Thank you, stay safe!

For this next instalment of our Communi T project, we’ve teamed up with none other than Leicester based illustrator Nially Cat.

Leicester born and bred and with a stint in the big smoke behind him, Niall has managed to work with the likes of Nike and Vivienne Westwood whilst also taking his creativity to music videos.

Whilst designing this latest project, we managed to sit down with Niall to discuss his journey so far and where the ideas came from for this latest Communi T.

Footpatrol: Niall firstly welcome back! How have you been since the last time we spoke?

Niall: Chilling man drawing a lot been making a lot more recently too

FP: And what about your sneaker collection has that grown to?

Niall: Not really, I think I’ve grown out of a lot of it to be honest. I’ve invested in 2 pairs of each of the mint and pink 90s though I think I’ve found my crep for life now

FP: For those who didn’t know you’re a man who’s had his fingers in all the pies, you’ve done some work for Vivienne Westwood for the Africa Collection and even Nike’s Carnival Air Force 1 too, what was that like?

Niall: It was fun I enjoyed the projects, especially the Nike one. From a kid that was a really big goal for me and I’m pretty sure they changed the name to “peace love unity” if you google it so I slyly renamed it too.

FP: That Window Kid music video you told us about last time looked insane, do you still do a lot of work for the music scene or is stuff like this more as a bit of fun now?

Niall: The music videos are quite long I can’t lie, time consuming but the conclusion is fun. I like working on fun stuff, I don’t like boundaries or guidelines that are too strict, you need to try new things and innovate or I don’t feel you’re doing yourself justice creatively. I do a lot of covers and shorts and stuff. I think the best way to put it is shout me with something interesting and let’s work.

FP: Last time we spoke about Converse, but this time we are talking about something completely different. We are here to talk about your upcoming Communi T with Footpatrol. Is this the first time you have done an apparel collaboration before?

Niall: No I’ve done bits and pieces here and there. Best thing is to keep an eye on my Instagram and website. I’m no good at the 3rd person persona thing or the constant self promotion so if you miss it you miss it. 

FP: Tell us a bit about the design for the tee, what was the story behind it all?

Niall: It’s a line from an old Klashnekoff tune. The front graphic is me in a custom Footpatrol mask (I added glasses so I could see distance) and the back print is the Klashnekoff quote in the Niallycat font – Loud Pack 😎 

FP: Well we are super happy to have you a part of the Communi T project Niall and thanks again for spending some more time with us. Before we go is there anything you want to let the people know about that’s coming soon from yourself?

Niall: We got prints hitting the website, T-shirt’s, stickers, pin badges soon come, football shirt for summer. Just pre the website 

FP: And finally a question we like to ask all Communi T partners.. please describe Hotel Creative’s style in 3 words?

Niall: Tall, Dark and handsome

Easily the silhouette that gets the most attention, adidas and YEEZY are back with another new take on their 350 v2 silhouette. Though its simplistic shape and subtle details, the pair have always managed to create a mix of interesting new colour ways keeping the silhouette fresh each time.

This latest one, dubbed ‘LINEN’ features a more heavier off white across the upper whilst the monofilament stripe, that’s woven into the reengineered Primeknit has a slight silver colouring.

Not messing with a perfect formula, the 350 V2 retains its full length BOOST within the midsole, making this one of the most wearable daily’s out there.

To enter the ONLINE raffle, CLICK HERE!

To enter, you’re required to sign up via the above form, this WON’T be available in-store to sign up on. 

Online raffle winners will receive a special code in which they’ll have a limited time to purchase their raffle win via a unique link. The raffle is limited to one entry per household! Multiple entries will be cancelled! 

Next up in our Discussion series is none other than Thor Hovland who since 2016 has been working behind the scenes at ASICS.

Read the interview below (Available in both English & French) to learn more about his work and what he does within his role at ASICS and make sure to scroll all the way down to the bottom, to see some special Colourway’s of their Gel-Lyte III silhouette.

Footpatrol: Thor tell us a bit about yourself, what do you do and how long have you been doing it for?

Thor: I work at ASICS as a Senior Colour Designer within footwear. I started working at the brand in May 2016 as a Colour Design intern with a six-month placement and have worked my way up from there in the last four years.

FP: What does your role entail?

Thor: In simple terms my role as a Colour Designer involves the application of colours, materials and graphics to the brand’s footwear. That is the main element of the role, however it also involves looking at colour and material trends, taking part in creating the seasonal colour palette and presenting concepts and designs to colleague;, such as Product Managers and Merchandisers.

During my time at ASICS my role and responsibilities have changed slightly, but at the moment I work on products across all three categories; which are broken down into Sportstyle, Running and Core Performance Sports (CPS). 

The majority of the work I do now is focused on the Heritage element of our global Sportstyle range, which basically means any model that is brought back from the archive for the inline collection. I also contribute, to varying degrees, on a lot of the collaborations with European partners as well as the regional SMUs for all three categories. For those that don’t know; SMUs are the products that are created exclusively for certain stores or partners.

FP: You’re also a huge ASICS collector, what was it about the brand that made you want to collect and now work for?

Thor: Oh, I don’t know if I would say huge, I guess it is all relative, I know a fair few people that have collections that put mine to shame. Saying that though; I have more appreciation for someone’s knowledge and passion rather than the size of their collection.

Back when I was purely a consumer I went through different phases when it came to what I would buy, but once I started focussing more on retro runners, I really started appreciating ASICS’ designs, quality and comfort. As someone who generally just appreciates good design, I continued to buy releases from different brands, but as time went on ASICS kind of naturally became my favoured brand. So, after I finished my Product Design Degree and I was looking to get into the industry, they were the brand I wanted to work for and fortunately for me it worked out.

FP: Do you have a favourite pair of ASICS? You don’t need to own the pair we are talking in general.

Thor: I know it is kind of a clichéd thing to say, but this is such a tough question and one where the answer would probably change from day to day. So, if it is OK, instead of giving you my favourite pair of all time, I will give you one that has some sentimentality and meaning to it. The GEL-Lyte V “Passport” collaboration with Sneakerness, which is special to me as it was the first collaboration that I worked on. So that was obviously a big moment for me when it released.

FP: Now you have worked with many people during your time with the brand, especially on the collaboration front. It must be an amazing feeling to see the concepts you spend so long working on behind closed doors come to life?

Thor: Oh, for sure, it is always a great feeling to see something you have worked on come to life. More so than just seeing it come to life; the real satisfaction comes from seeing people get excited about and hopefully spend their hard-earned money on something you have created. It gives you a bit of a buzz when you see people wearing them on the streets or posting pictures of them on social media. It is also kind of odd though, as my job means that I work a couple of seasons ahead, like right now I am working on the range for AW21, so by the time a shoe releases and consumers are talking about it, I have moved on to other things. I hope that kind of makes sense?

FP: On your instagram you also do a daily design of the GEL-Lyte III in some very recognisable colourways. Are these your dream concepts or is this more of a fun pass time?

Thor: It is a combination of me, in my own way, paying homage to the GEL-Lyte III for its 30^thanniversary, but at the same time setting myself a little bit of a personal challenge; having some fun and staying creative.

FP: 2020 is also a big year for ASICS as it marks the anniversary of the Gel-Lyte III. Could you explain the significance of this model for the brand? Some would say that it’s the brand’s most recognisable model.

Thor: From a lifestyle perspective I think there is no denying the GEL-Lyte III is the brand’s most recognisable shoe. Although it wasn’t the first model to be collaborated on, I think it is fair to say that the collaborations with David Z and Patta in 2007 were what really kicked things off for ASICS in the lifestyle/sportstyle category. To this day it is the most collaborated on model and it is generally these projects that create the most exposure, so it makes sense that the model that has had the most collabs would be the most recognisable. Saying that though, I think the credit needs to go to Mitsui-San’s design, as had the design not been as strong as it is then it could have been a completely different story.

FP: What about for you, does this model resonate with yourself or were there other models from ASICS that you liked more?

Thor: I am a big fan of a lot of ASICS’ models and having looked through old catalogues, going all the way back to the 60’s; I think that it is easily one of the strongest archives in the industry. I am of course however a little biased and I haven’t had the same access to other brands’ back catalogues, so you will have to take that comment with a bit of salt. The GEL-Lyte III is still my favourite though, not just because of the design, but also because of its significance for the brand, you could argue that without it the lifestyle side of the brand and in turn my job may not have existed.

FP: Could you tell us a bit around the GEL technology that is used in models such as the GEL-Lyte III, has it changed over the years or has it stayed the same since its introduction in 1986?

Thor: If you are looking for a really technical answer, then that question would be better suited to the scientists at our Institute of Sport Science (I.S.S.), who are continually working on developing all aspects of our footwear, including the GEL technology. I can however say that there have been multiple adaptations and iterations of GEL since the introduction of the alpha-GEL that featured on the Japan exclusive Freaks model in 1986 and later the GT II, which released globally. Even in the late 80’s and early 90’s there were different versions of GEL utilised in the forefoot and rearfoot of a shoe. So, in very simple terms, the GEL that you see today on models like the GEL-Quantum 360 and Infinity is not the same as the GEL technology from 1986. Also, as a side note, this development of technologies in-house is something that makes ASICS unique, as the majority of brands utilise external chemical companies for this kind of thing, which makes the work done at the I.S.S. pretty special.

FP: Thor thanks for spending time with us! Before we let you go we are asking people what they are doing during the lockdown to keep creative, active or whatever they want to do to stay productive. Have you got any inspiration for the Footpatrol followers?

Thor: My pleasure. Thank you for giving me the opportunity to provide some small insights on what it means to be a colour designer at ASICS. 

That’s a good question; I would just encourage people to do something creative, as it is always good to learn new skills and there are so many different things that you can do at home; whether it involves photography, videography, illustration, music, art, etc. Now is the perfect time to maybe try something you have wanted to learn, but have been putting off, especially as a few companies are giving free or discounted access to their creative tools and tutorials. 

Most of all though I would say stay home, stay safe and make sure to check in with your loved ones.

FP: Thor, parle nous un peu de toi, qu’est ce que tu fais dans la vie et depuis combien de temps ?

Thor: Je travaille pour ASICS en tant que « Senior Colour Designer » pour la division Footwear. J’ai commencé à travailler pour la marque en mai 2016 en tant que stagiaire « Colour Design » pendant 6 mois. Et durant les 4 dernières années j’ai fait mon chemin jusqu’au poste que j’occupe actuellement.

FP: En quoi consiste ton rôle ?

Thor: En gros, mon rôle c’est de m’occuper de l’application des couleurs, des matériaux et des graphismes pour la division Footwear de la marque. C’est la plus grosse partie de mon travail, mais je suis aussi impliqué dans la recherche de nouvelles tendances en ce qui concerne les matériaux et les couleurs. Je participe donc à la création de la palette de couleurs de la saison et à la présentation de concepts et des designs à mes collègues, notamment les « chefs produit » et les « Merchandisers ».

Depuis que je suis chez ASICS, mon rôle et mes responsabilités ont légèrement évolués. Mais actuellement je travaille sur des produits faisant partie de 3 catégories différentes : « Sportstyle », « Running » et « Core Performance Sports » (CPS).
La majorité du travail que j’effectue est concentrée sur les éléments « Héritage » de notre gamme « Sportstyle », en gros : tous les modèles qui sont repris de nos archives pour nos collections. J’interviens aussi, à différents niveaux, sur plusieurs collaborations avec nos partenaires européens ainsi que les « SMU » régionaux pour les 3 catégories. Pour ceux qui ne le savent pas, les « SMU » (Special Make Up), sont des produits qui sont créés exclusivement pour certains magasins ou partenaires.

FP: Tu es aussi un gros collectionneur d’Asics ! Qu’est ce qui t’a donné envie de collectionner cette marque et d’y travailler ?

Thor: Oh ! Je ne sais pas si je dirais « gros », je pense que c’est relatif. Je connais pas mal de gens dont la collection mettrait la mienne à l’amende. En parlant de ça, j’ai plus de considération pour le savoir et la passion de quelqu’un que pour la taille de sa collection.
Quand j’étais simplement consommateur, je suis passé par plusieurs phases en ce qui concerne ce que j’achetais. Mais quand je me suis concentré sur les retros running, j’ai vraiment commencé à apprécier les designs, la qualité et le confort d’ASICS. Etant quelqu’un qui apprécie généralement les bons designs, j’ai continué à acheter des paires de différentes marques. Mais avec le temps, ASICS est naturellement devenue ma marque préférée. Donc une fois que j’ai eu mon diplôme en « Design Produit », je cherchais à entrer dans ce domaine là. ASICS était la marque pour laquelle je voulais travailler et heureusement pour moi, ça a fonctionné.

FP: Est-ce que tu as une paire d’ASICS favorite ? Tu n’as pas besoin de forcément posséder la paire, je parle en général.

Thor: Je sais que ce que je vais dire est un peu cliché, mais c’est une question très difficile et je pense que la réponse changerait de jour en jour. Donc si ça te convient, au lieu de donner ma paire favorite de tous les temps, je vais te donner celle qui a une valeur sentimentale toute particulière. C’est la Gel Lyte V « Passport », collaboration avec le Sneakerness, parce que c’est la première collaboration sur laquelle j’ai travaillé. Donc c’était forcément un grand moment pour moi quand elle est sortie.

FP: Depuis que tu as intégré ASICS, tu as travaillé avec beaucoup de monde, surtout au niveau des collaborations. Ça doit être un sentiment particulier de voir des concepts sur lesquels tu as passé énormément de temps prendre finalement vie ?

Thor: Évidemment ! C’est toujours un super sentiment de voir quelque chose sur lequel tu as travaillé prendre vie. Au-delà de ça, c’est de voir l’excitation des gens, et éventuellement les voir dépenser l’argent qu’ils ont économisé dans quelque chose que tu as créé, c’est ça la véritable satisfaction. Ça fait vraiment quelque chose de voir les gens les porter dans la rue ou les poster sur les réseaux sociaux. C’est aussi un peu étrange pour moi, dans la mesure où mon travail consiste à travailler sur les saison futures. Par exemple en ce moment, je travaille sur la collection AW21. Donc quand un produit sort et que les consommateurs en parlent, je travaille déjà sur autre chose. Tu vois ce que je veux dire !

FP: Sur ton compte Instagram, tu postes chaque jour un design de la Gel Lyte III avec des coloris très reconnaissables. Ce sont tes designs de rêves ou simplement un passe-temps ?

Thor: C’est ma façon à moi de rendre hommage à la Gel Lyte III pour son 30ème anniversaire. Mais en même temps, ça me permet de me challenger un peu ! C’est amusant et ça me permet de rester créatif.

FP: 2020 est aussi une grosse année pour Asics, puisqu’elle marque les 30 ans de la Gel Lyte III. Tu peux nous expliquer ce que représente ce modèle pour la marque ? Certains disent que c’est le modèle le plus reconnaissable de la marque.

Thor: D’un point de vu Lifestyle, on ne peut pas nier que c’est la plus reconnaissable de la marque. Même si ce n’est pas le modèle sur laquelle on a fait les premières collaborations, je pense qu’on peut dire que celles faites avec David Z et Patta en 2007 ont vraiment lancé le truc pour Asics dans la catégorie Lifestyle/Sportstyle. A ce jour, c’est le modèle sur lequel on a fait le plus de collaborations, et c’est généralement ces projets qui ont le plus de visibilité. C’est donc logique que ce soit le modèle le plus reconnaissable. En parlant de ça, je pense que tout le crédit doit aller au design de Mitsui-San. Je pense que si le design n’avait pas été aussi fort qu’il ne l’est, l’histoire aurait été bien différente.

FP: Et pour toi ? Tu es sensible à ce modèle ou il y a d’autres modèles chez ASICS que tu préfères ?

Thor: Je suis un grand fan de plein de modèles d’ASICS. Ayant pu parcourir les anciens catalogues, en remontant jusqu’aux années 60, je pense qu’on peut facilement dire qu’ASICS a les meilleures archives de toute l’industrie. Mon avis est forcément un peu biaisé et je n’ai évidemment pas autant accès aux archives des autres marques qu’à celles d’ASICS, il faut donc prendre cette réflexion avec des pincettes ! La Gel Lyte III reste malgré tout mon modèle préféré, pas uniquement par son design, mais aussi pour ce qu’elle représente pour la marque. On peut penser que sans cette paire, le coté lifestyle de la marque n’existerait pas et mon travail non plus…

FP: Tu peux nous en dire un peu plus sur la technologie Gel qui est utilisée sur des modèles comme la Gel Lyte III ? La technologie a-t-elle changée avec le temps ou est ce qu’elle est restée la même depuis son introduction en 1986 ?

Thor: Si vous voulez une réponse très technique, il faut s’adresser aux scientifiques de notre « Institute of Sport Science » (I.S.S). Ils travaillent et développent continuellement tous les aspects de nos chaussures, la technologie Gel y compris. Je peux quand même dire qu’il y a eu plusieurs adaptations et versions du Gel depuis l’apparition de l’Alpha-Gel sur le modèle Freaks qui était une exclusivité

Japon en 1986, puis plus tard sur la GT-II qui est sortie plus largement. Même à la fin des années 80/début des années 90, il y a eu des versions différentes du Gel utilisés à l’avant et à l’arrière du pied. Donc, pour faire simple, le Gel que vous voyez aujourd’hui sur un modèle comme la Gel- Quantum 360 et Infinity n’est pas la même technologie Gel que celle des années 80. Petite remarque, ce développement de technologie en interne est quelque chose qui rend ASICS unique. La majorité des autres marques passent par des sociétés externes de l’industrie chimique, pour ce genre de choses. Ce qui rend le travail fait à l’I.S.S assez spécial.

FP: Thor merci d’avoir passé du temps avec nous ! Avant qu’on te laisse partir, on demande aux gens de nous dire ce qu’ils font durant le confinement pour rester créatif, actif ou n’importe quoi qui leur permette de rester productif. As-tu des inspirations pour les followers de Footpatrol ?

Thor: Avec plaisir ! Merci de m’avoir donné l’opportunité de donner quelques détails sur ce qu’est un « Colour Designer » chez ASICS.

C’est une bonne question ! J’encouragerais simplement les gens à faire quelque chose de créatif. C’est toujours bon d’apprendre de nouvelles choses et il y a tellement de choses que vous pouvez faire de chez vous, comme de la photo, de la vidéo, du dessin, de la musique, de l’art… C’est peut être le moment d’apprendre quelque chose que vous avez toujours voulu apprendre mais que vous avez toujours repoussé. Certaines entreprises donnent accès gratuitement ou à prix réduit à des outils créatifs et des tutoriels.

Avant tout je dirais, restez chez vous, prenez soin de vous et garder contact avec ceux que vous aimez.

Continuing in the futuristic footsteps of the 380 ‘ALIEN’ and the 700 V3 ‘AZAEL’, adidas and YEEZY are back with another iteration of their 700 V3 silhouette.

With recent YEEZY’s featuring a multi tonal upper, this ‘ALVAH’ takes it back to basics and introduces an all black upper to the V3 silhouette for the first time. Subtle bursts of greys are weaved within the monofilament mesh upper, creating a layered appearance underneath the RPU cage.

A bootie construction, which features reflective details, allows for a more snug fit, providing stability. The PU encapsulated EVA midsole provides comfort and durability, while the herringbone rubber outsole offers unique design cues and improved traction.

To enter the ONLINE raffle, CLICK HERE!

To enter, you’re required to sign up via the above form, this WON’T be available in-store to sign up on. 

Online raffle winners will receive a special code in which they’ll have a limited time to purchase their raffle win via a unique link. The raffle is limited to one entry per household! Multiple entries will be cancelled! 

Continuing a legacy born of three decades of athletic and cultural relevance, the Converse Pro Leather returns in premium form for a new era. Ever since its debut back in 1976, the Pro Leather has maintained a solid presence within a wide range of cultural, sporting and leisure pursuits, from basketball courts and skateparks through to the block parties of hip-hop’s formative years. Utilising premium materials and enhanced with era-authentic detailing, the Pro Leather pays tribute to the past by cementing its place in the present. 

We looked within London’s homegrown creative community to find three people who are making moves in the present day, but who remain inspired by the past decades. 

By Chris Aylen 

The Converse Three Decades pack will be launching online on the 9th, 10th and 11th April, priced at £80.

Steven Julian 

1980s 

As a DJ and producer, Steven Julien – also known as FunkinEven – stands out as one of the most invigorating and captivating artists to come from London in recent years. In a world that’s keen to categorise everything, his music is often idly filed under the label of ‘electronic’. But if you truly listen to the genius contained within each track, you’ll soon hear that there’s a lot more going on… “I started off as a hip-hop dancer, before forming a group with my mates called The Dungeoneers. At that point I rapped, but I became more interested in making beats. So I got my first keyboard from a friend and bought my first drum machine and just started making jams. I’ve still got that same drum machine now.” 

Instead of taking the popular route of relying on software to create his music, Steven has amassed a vast array of classic analogue machines from the likes of icons such as Roland, Korg and Yamaha, many of which were involved in the creation of his last album, ‘Bloodline’ from 2018. At a time when almost anyone can learn how to use software in order to make music through online videos and extensive tutorials, getting to grips with individual pieces of vintage equipment seems like much more of a task and investment of time. But as a result, there’s a warmth here that is often lacking in modern music. Steven explains,”For 

me, creating music this way has much more feeling and working with physical machines definitely informs my creative process. The 1980s was an important era: most of the equipment I use today was first manufactured back in the ’80s.”. 

If you listen to the debut album, ‘Fallen’ from 2016, it would be hard to deny the brilliance contained within: immersive, layered soundtracks which conjure up visions of neon lights and dark streets, with elements of funk, hip-hop, house and soul each playing a role. The combination of contemporary theming paired with an almost-vintage synthesized sound makes for unforgettable listening, and his music label, Apron Records, has already amassed an impressive discography of cross-genre masterpieces. 

As the bassline rumbles on, it’s easy to hear decades of inspiration in the music, but the 1980s clearly seems to be more than just the birthdate of his studio equipment. Steven explains what family life back then was like, and how it remains to be a thread in what he does today. “Growing up as a kid in the ’80s definitely informed what I do now. Being around my parents and listening to their music… house parties… watching TV… Everything from that era has been a massive part of my upbringing. It’s something that’s always there.” 

Launching online on Thursday 9th April, Sizes range from UK3.5 – UK11, priced at £80.

Jyrrel Roberts 

1990s 

As an up-and-coming creative who can turn his hands to anything, Jyrrel represents London’s bustling undercurrent of young visionaries to a tee. Whether he’s modelling for your favourite streetwear brands, skating with his friends through the city or carefully casting a ring for his jewellery line, there’s no denying his talent and determination. London has always offered plenty of sources of inspiration to burgeoning creatives, and for Jyrrel the motivation starts close to home. 

“The ’90s was a key time for me. I would subconsciously absorb things I saw when I was out at galleries or looking at books, but it was various elements from my home life and upbringing that nurtured an understanding of style for me. Those early years provided me with many key moments of inspiration which have since influenced my life in a variety of ways.” 

His selected mode of transport – the omnipresent skateboard – has been a constant presence throughout Jyrrel’s life. “Skating has always been there, often providing me a welcome escape from everyday life. I remember watching my uncle skate when I was very young and from there I took things in my own direction. Those roots allowed me to develop a sense of expression that’s informed my projects ever since.” 

One of Jyrrel’s artistic outlets comes in the form of his line of handmade jewellery – a skill that requires patience, meticulous craftsmanship and a healthy dose of vision. Anything and everything has the potential to inspire him when in the workshop. “Working on jewellery pieces is very much a gradual process and not something that I can actually plan or could work to a set routine. The initial inspiration for a ring, for example, could come from anything. Something that I see one day might not be a catalyst until months down the line when I’m sketching out some ideas.” 

There’s no denying that London provides a rich, endless supply of material for the modern day hunter-gatherer. “I found an old metal radiator that had been dumped in the street the other day. I looked at it for a couple of minutes and quickly realised I could use it for… something! It could provide me with an idea or even just a chance to use the materials in my own pieces. As a result, I ended up walking around Shoreditch carrying this massive radiator for the rest of the day!”

Launching online on Thursday 10th April, Sizes range from UK4 – UK11, priced at £80.

Bwalya Newton 

2000s 

Anyone who’s had the opportunity to meet Bwalya Newton will tell you that her enthusiasm and passion is infectious. In fact, talking to her for any length of time is exhilarating, as she speaks and writes with warmth and wisdom that’s born from her rich, layered background and a desire to push beyond her comfort zone. And whilst her talents have manifested themselves across many different outlets, the Zambian-born, London-based writer and DJ is perhaps best known for her formation of the much-respected women’s basketball team, Hackney Gazelles. 

Making the transition from Africa to the UK would be a courageous endeavour for anyone to undertake, but even at seven years old Bwalya was already well-equipped with her dextrous vocabulary, bolstored with a genuine love of talking to people. “I come from a family of diplomats, 

so education was always really important. My grandfather was a teacher and I spent a lot of time when I was young listening to him read to me. In Zambia, education never really stopped once you were outside the school environment: your freedom and your liberation was seen in education. When I came to London, it was a weird shift to see that education wasn’t at the forefront”. 

Being placed in a potentially intimidating situation at such a young age perhaps contributed to her positive and bold use of language. “You have to be surefooted, because people are always going to question you. Previous to becoming a journalist, I studied law. I like talking to people and I think that’s what interested me about law – being able to have a persuasive argument or explain how someone feels in order to share them with the world. I know what it feels like to be excluded and so there’s something inside of me that wants to stop others feeling like that. I realised that I could that through journalism.” 

With her creativity and words currently spanning the breadth of contemporary media, planning the next step is something that needs careful consideration. Would she ever want to run her own magazine? “I would love to have my own publication, but I don’t know if that’s needed in a world that’s already filled with so much content. Basketball is almost like another language, especially when you’re doing it within a London context instead of New York. You’re taking it away from its home, and so you have to redefine that within the confines of a colder city, where there are less courts and no asphalt Gods.” 

With the Gazelles currently on hiatus due to COVID-19, whilst plans are formulated for the future, it gives us a chance to catch our breath and look back to the halcyon years that gave birth to Bwalya’s passion and motivations. The 2000s was a lively, exciting time with a lot going on. Making sense of everything and knowing where to look for inspiration is something that’s easier in hindsight perhaps? “No one could have realised or predicted the hybridity of subcultures that we saw in the 2000s. You don’t think about things like that when you’re 14 years old and consuming all this stuff as part of the first Internet generation. If everything hadn’t been so fractured and multifaceted, I wouldn’t be the person I am now.”

Launching online on Thursday 11th April, Sizes range from UK4 – UK11, priced at £80.

First up in this new series is Sam Pearce, New Balance’s creative design manager who also oversees NB’s Made in UK line.

Whilst we’re in lockdown, we thought this would be a great opportunity to reach out to those individuals who are behind the scenes at some of our favourite brands to get a greater insight into their roles and the brands themselves.

Check out the interview below available in both English and French.

Footpatrol: Sam before we get into it tell us a bit about yourself, what’s your role and how long have you been with New Balance for?

Sam: I will always say I am a fan first, beyond that I am an avid collector, historian and currently hold the position of Creative Design Manager. I have been at NB a little over 9 years and currently work out of our European HQ.

FP: Could you give us any specifics about your role and what it entails?

Sam: I head up the footwear design team for this region, we handle global projects including collaborations, inline product and the Made in the UK line. I spend a lot of time planning future product direction and building compelling stories for the brand but design is still my main focus. 

FP: For anybody that follows you on social media they would know that you are a serious New Balance connoisseur collecting some of the rarest and most obscure models and sharing their stories. Have you always been a big New Balance collector?

Sam: My first pair of “Newbies” were some white leather cross-trainers during that craze of the early 90’s but I didn’t “mature” into the brand till I was in my twenties. Most of NBs history and product is still a complete mystery to people, so when I started sharing these bizarre items the community were grateful for some insight and answers. I currently have pieces going to museums all over the world – sneakers have officially come of age!

FP: Moving on to your role for the brand, you are the brains behind the design of the X-90 model which debuted in 2018. Where did you get the inspiration from when concepting the model in the first place?

Sam: When we started this project in early 2016 the plan was to build a model that captures the design language of the 990 series for a younger audience… I wanted to rip up the rule book and create something unique from what had been done before. Traditionally sneakers were built with performance running in mind but this was designed specifically to target a modern consumer and the needs of their day to day life.

FP: It must be an amazing feeling being able to see your creation come to life? 

Sam: This was a whole new look at lifestyle product at the time, the market wanted something new and not just another retro. Nike and Adi had the Roshe and NMD respectively, it was fun to capture this for the NB consumer. I still get a lot of messages about the X90 being their daily beaters… mission accomplished.

FP: Are there any models from the brands archive you would love to see come back to life or redesigned for today’s market?

Sam: Honestly, you wouldn’t believe the back catalogue NB has… there are some Japan excusive models in the early 1990’s that will blow your mind, these are sneakers most people inside NB aren’t even aware of. With our return to basketball we will be pulling some of our best heritage models from that line, it would be fun to design a modern ball shoe inspired by this. 

FP: You also had design input on the X-Racer, I read that it’s a mix of many things from New Balances back catalogue. Were there any models in particular that you used as inspiration for this design?

Sam: With the chunky look dominating the lifestyle market we wanted to flip things on its head a bit. I took inspiration from racing models such as the RC205 and 1200 (these again are pretty unknown by the masses) to create something low-profile and technical. This same element of storytelling continues throughout the X-series, the next iteration is due to drop later this year and will take the consumer down another path of New Balance heritage.

FP: Moving on to the New Balance ‘Made in’ Range is there much difference between the ‘Made in UK’ compared to the ‘Made in US’ lines?

Sam: Domestic manufacturing is the unique part of NB that got me hooked so it is an area of the business I am most passionate about. The USA line is pushing what a modern factory can be, making military grade footwear and performance products with a focus on 3D printing. The UK production, in contrast, is steeped in craftsmanship using the finest luxury European materials to make the very best lifestyle footwear. It really is a special thing to be involved with.

FP: Sam thanks for spending time with us! Before we let you go we are asking people what they are doing during the lockdown to keep creative, active or whatever they want to do to stay productive. Have you got any inspiration for the Footpatrol followers?

Sam: As a designer this time is ideal for me to hone new skills, practice sketching techniques or work in a media I am not so familiar with. Outside of that I have a “rolling” classic car project that is crying out for some TLC, I will be escaping to the garage with my tools for a change of scenery for sure. Keep your mind active, set yourself goals and stay safe out there.

FP: Sam avant de commencer, peux-tu nous parler un peu plus de toi, du rôle que tu occupes et depuis combien de temps travailles-tu chez New Balance? 

Sam: Je dirais que je suis avant tout un fan. Je suis un collectionneur, historien et j’occupe actuellement le poste de Creative Design Manager. Je suis chez New Balance depuis un peu plus de 9 ans et je travaille au sein du siège européen. 

FP: Tu peux nous en dire un peu plus sur ton rôle et en quoi il consiste? 

Sam: Je dirige l’équipe de design footwear pour cette région. On gère des projets globaux. Ça inclut des collaborations, les produits in line (ou general release) mais aussi les projets Made In UK. Je passe aussi beaucoup de temps à définir la direction que va prendre la marque dans le futur en terme de produit et à développer du story telling autour des produits de la marque. Mais le design est le plus gros de mon activité. 

FP: Ceux qui te suivent sur les réseaux sociaux savent que tu es un sérieux collectionneurs de New Balance. Tu as en ta possession les modèles les plus rares de la marque et tu racontes souvent leur histoire. As-tu toujours été un gros collectionneur de New Balance ? 

Sam: Ma première paire de « Newbies » était une paire de cross-trainers en cuir blanc du début des années 90. Je n’ai cependant pas été à fond dans la marque avant mes 20 ans. La majeure partie de l’histoires et des produits de chez New Balance sont complètement inconnus du grand public. Donc quand j’ai commencé à partager ces produits « bizarres », la communauté a apprécié avoir des infos et des réponses. J’ai quelques pièces qui vont dans des musées dans le monde entier. Les sneakers ont officiellement atteint leur maturité ! 

FP: Passons maintenant à ton rôle auprès de la marque. Tu es le cerveau derrière le design de la X-90, modèle sorti en 2018. Où as-tu trouvé l’inspiration pour ce modèle? 

Sam: Quand on a commencé ce projet au début de l’année 2016, le plan était de créer un modèle qui s’inspirait de l’esprit et du design de la série 990, pour un public plus jeune. Je voulais bousculer les codes et créer quelque chose d’unique. D’habitude, les sneakers sont fabriquées en pensant « performance running ». Mais celle-ci a été conçue spécialement en pensant à un consommateur moderne et pour l’accompagner dans sa vie de tous les jours. 

FP: Ça doit être un sentiment exceptionnel de voir sa création prendre vie? 

Sam: C’était un tout nouveau style de produits lifestyle. Le marché voulait quelque chose de nouveau et pas juste une autre retro. Nike et adidas avaient respectivement la Rosh et la NMD. C’était amusant d’adapter ça au client New Balance. Je reçois toujours pas mal de messages de gens qui me disent que la X-90 est leur paire de tous les jours… Mission accomplie ! 

FP: Y a-t-il d’autres modèles des archives de la marque que tu aimerais voir renaître ou retravaillée pour le marché d’aujourd’hui? 

Sam: Honnêtement, tu n’imagines même pas la profondeur des archives New Balance… Il y a des modèles qui sont des exclus Japon du début des années 90 qui te feraient halluciner. Ce sont des modèles que la plupart des gens chez New Balance ne connaissent même pas. Avec notre retour dans le monde du Basketball, on va ressortir nos meilleurs modèles archives de cette ligne. Ce serait amusant de créer une chaussure de basket moderne inspirée par les modèles archives. 

FP: Tu as aussi participé au design de la X-Racer. J’ai lu que c’était un mix de plusieurs choses provenants des archives de chez New Balance. Y a-t-il des modèles dont tu t’es inspiré plus particulièrement? 

Sam: Avec tous ces modèles assez massif qui dominent le marché du lifestyle, on a voulu changer un peu la donne. Je me suis inspiré des modèles de course comme la RC205 et 1200 (ce sont des modèles qui sont peu connus du grand public) pour créer quelque chose de fin et technique. Ce même élément de story telling se poursuit à travers les X-Series, le prochain modèle qui doit sortir plus tard cette année emmènera le consommateur dans un nouvel univers de l’héritage New Balance. 

FP: Passons maintenant à la ligne « Made In » de chez New Balance. Y a-t-il beaucoup de différences entre le ‘Made In UK’ et le ‘Made In US ‘? 

Sam: Le fabrication locale est LA chose qui m’a fait accrocher avec New Balance. C’est une des parties du business qui me passionne le plus. La ligne USA met en avant tout ce que peut être une usine moderne, fabriquant des chaussures de qualité militaire et des produits performances avec un focus sur l’impression 3D. La production « Made In UK », quant à elle, se concentre davantage sur le « fait main », utilisant les matériaux européens les plus nobles pour créer les meilleurs produits lifestyle. C’est un sentiment très spécial de faire partie de tout ça. 

FP: Sam merci d’avoir passé du temps avec nous ! Avant qu’on te laisse partir, on demande aux gens de nous dire ce qu’ils font durant le confinement pour rester créatif, actif ou n’importe quoi qui leur permette de rester productif. As-tu des inspirations pour les followers de Footpatrol ? 

Sam: En tant que designer, c’est le moment idéal pour moi de perfectionner de nouvelles compétences, travailler sur des techniques de dessins ou travailler sur un support avec lequel je ne suis pas familier. En dehors de ça j’ai un projet de rénovation d’une voiture classique qui a besoin d’avancer… Je vais au garage avec mes outils pour me changer les idées ! Gardez votre esprit actif, établissez vous des objectifs et prenez soin de vous ! 

To celebrate their Air Max Day 2020, Nike bring forward a handful of new iterations and one in particular that pays homage to an icon.

Ever since its introduction back in 1987, the Air Max line up has seen many silhouettes and colour ways all made recognisable from its visible air unit within the midsole.

For 2020, Nike bring us the Air Max 90 ‘Reverse Duck Camo’ that pays homage to their 2013 collaboration with Atmos. This latest iteration features an inverted colour scheme to that original giving the 2020 version a new feel about it.

To enter the ONLINE raffle, CLICK HERE!

To enter, you’re required to sign up via the above forms, these WON’T be available in-store to sign up on. 

Online raffle winners will receive a special code in which they’ll have a limited time to purchase there raffle win via a unique link. Their win will win be sent out to there registered PAYPAL address only! 

For the release of Pumas Mix Pack, we met up with London and Rinse FM DJ Chennessy to talk about music, footwear and more. 

Taking inspiration in Puma’s strong connection to African football the packs colours pay homage to the detailed patterns used on previous Puma Jerseys used for the African National teams. 

The packs focus is on both the RSX and Future Rider models with each of the 4 pairs featuring a multicoloured knitted mesh, mix of suedes, leathers, detailed African jersey inspired laces and thermoplastic seals creating an interesting array of layers and textures on all models

Shop the Puma Futurerider & RS-X3 now at Footpatrol! Shop here!

Footpatrol: Chennessy before we get into it, thanks for being here. Before we get into music and Djing let’s talk footwear. Are you a big collector yourself?

Chennessy: I’m what you call a hoarder, I’m more of an hoarder than a collector. I prefer going for things I like rather than what is considered unique or rare, unless both of those things match what I like. I fell out of love with drop days due to the fact that I like my footwear to be accessible and to represent a moment in time, I also want it to be a part of the community conversation rather than just having the prized possession. Don’t get me wrong I do have a large collection of footwear, but also I’m trying to do something more meaningful with the stuff I don’t wear as well.

FP: What are your thoughts on Pumas Mix pack? There are some crazy colourways and prints on both the Riders and RSX models. 

C: My thoughts, I really like the colourways. I love the build of them, the pattern on mesh and the lacing. These Future Riders are the ones I really like. It’s a bit of me, they’re loud!

FP: Have you been wearing the RSX or the rider? I have to say the RSX is one of the most comfortable shoes out at the moment.

C: Puma wins on comfort right now. I have the Future Riders in another colour way, they are a comfortable shoe. So is the RSX they got a real nice ankle support on them. Puma definitely are winning in that area. 

FP: Moving on to music, for those who haven’t heard you DJ how would you describe your sound?

C: I’m quite lucky to have multiple outlets, I have radio and I also have the night club as an outlet. 

In the clubs I pretty much cover everything that you would hear in London from past 10/15 years. From the emergence of the sound that is now, like Afroswing down to Garage. Also touch on the American influence, the Trap sound, drill, R&B, Dancehall and Afrobeat. I pretty much get all the sounds that we engage with or identify ourselves with and put them together in an interesting way, sometimes contrasting but very complimentary. I like to play with a little juxtaposition in my sets and keep the audience on their toes to really keep the energy in the room up!

On radio I’m fortunate enough to get to play all the stuff I don’t get to play in clubs. I use that as my full experimental sound bed taking advantage of loops, a lot of unsigned acts, stuff I listen to on a day to day and different textures and sounds that have gravitated towards me over the month. 

FP: Do you have a preference between the 2 do you prefer DJing in the clubs or on the radio?

C: Its 2 separate feelings. To have that negotiation with the people going from the crowds energy back to myself, that’s a very unique interchange that happens.

On radio it’s more me just running free. Each have their own perks, with radio it gives me a chance to be more experimental and get to the destination in a longer period of time. 

FP: What was it in particular about being behind the decks that made you want to become a DJ?

C: I was just curious, it was a time before there was really any audience for it, it was all about the MC. It was like kick ups once you get the hang of it you look for other combinations of tricks you can do. Through there it was about refining that skill till I got it to a level where I was very confident with it and once I had that confidence and understanding, it then became about the communication between myself and the audience from that moment on. It was about curating the vibe!

FP: So it’s really about the feeling for you more than anything?

C: Fully the Feeling!

FP: You’re part of Rinse FM. How did that come around, is it something you’ve been doing for a while?

C: I have been on Rinse for about 2 years. I started in 2018. I started when I went on Jyotys show for a guest mix, had a lot of relationships over at Rinse FM been quite fortunate to keep a lot of good relationships in a lot of places. Through my relationship with the station as well they invited me back for a guest mix and offered me a monthly specialist show, up until Emerald was taking a break there was an opening for the drive time shows as well so they asked me to come down and do that also. I couldn’t do the four days of the week but I said I would definitely do one day a week, so I’ve been doing that for about a year as well.

FP: It’s not the only thing you do though right, you also have Birdnoise and Slocal. How did they come about? Let’s start with Slocal first. 

C: The easiest way to put it is that it’s a collective, it’s built around an ethos, progress gang one step at time, it’s a constant pursuit. It is a level up mentality that imbedded into us all, we are all individuals but when we bind together we create these ill moments. This all started through Nate he had the idea, and he bought in the people that he thought would help execute the idea the best way. That translated in the form of merch, touring across europe with the music, going to different territories and doing club nights there, and doing mini activations for ourselves. We were throwing some epic parties in London with talent around the city who just so happened to be our friends as well. But yeah, it’s all in the name of the constant pursuit. 

FP: I want to move on to Birdnoise as I know you have the 3rd birthday coming up, did you approach this with the same mentality as Slocal or was this something different?

C: Birdnoise is fun for totally different reasons. That started in 2016/2017, I was being invited to play in Germany quite a few times – shouts out to Bass Gang, JD.Reid and SixNerf Click. What they did was offer me such a high level of hospitality and welcoming, but I had nothing to give in return in London to reciprocate it. I felt it was important to try and create something that reimburses the DJ network across europe, that allowed that conversation to happen for other people that I thought we dope as well. That’s how Birdnoise started, it then became a very deep DJ focused night in the Hip-Hop and R&B world where it was normally about the hosts and other elements, I just wanted it to be about the DJs coming and flexing and also the people. I wanted it to be a different ecosystem, it wasn’t about the tables and all this other stuff people typically like, I want it to be about the emerging sound that we all knew just coming up from London rather than just the commercial side of things. 

FP: When it comes to selecting the DJs do you have a process?

C: There’s no formalised process. It works in a couple ways, if I see someone and I’m excited about how they play I try to find a way where I can bring that excitement to Birdnoise. Some DJs do an epic warm up set, know how to set the pace and know how to set the tone of an evening. Some DJs will have an epic Dancehall set, some DJs have an epic turn up set. It’s all about trying to find the best way to curate the evening. 

When I’m out and about listening to new DJs I’m always placing them in where they could be because of the amount of Night life im involved in. With that, I always listen to different things so I can have more of a balanced line up so the night can feel like more of a journey. 

That’s how I curate nights, I know I can finish the night at any given time but I want to make sure all the corners are touched so that by the time I get on the decks I can then run free. 

A lot of the DJs I bring into Birdnoise I caught them when they had no bookings. I saw the raw talent, being a DJ you can recognise that. Then I think BOOM you know what would be dope for you – in my head I’m thinking maybe you won’t play at this time but maybe giving them a slightly earlier set or maybe a 1am slot to a full crowd of people. When you play for another DJ it brings a different kind of spirit to you. 

FP: Well Chennessy thanks again for being here with us, before you go is there anything we can look forward to from you in 2020?

C: Yeah a few things, Birdnoise, Slocal, 92 Bricks and please say the God Bless.

After its initial release of the YEEZY BOOST 380 late last year with the ‘Alien’, adidas and YEEZY are back for a another take dubbed ‘Mist’.

Sitting within the ‘300’ family, the 380 remains constructed in similar fashion to the 350 V2, the upper is composed of a re-engineered Primeknit with a similar looking stripe down the side, like that seen on the 350 V2, just not as prominent on the 380. Away from the stripped back white colour way that we saw with the ‘Alien’, this newest version features a much more tonal colour way of greys and muted browns.

Though the overall silhouette is visually different to what we’ve become accustomed to from the YEEZY line up, the 380 moves in a similar direction to the recently launched 700 V3.

To enter the Online raffle, CLICK HERE

To enter, you’re required to sign up via the above forms, these WON’T be available in-store to sign up on. 

Online raffle winners will receive a special code in which they’ll have a limited time to purchase there raffle win via a unique link. Their win will win be sent out to there registered PAYPAL address only!