Author: Bradley Martinez

The Footpatrol Run Club is back!

After last year’s endeavors, we saw an opportunity to continue bringing our community together through our shared love for running. From our wear testing adventures with New Balance over at Tillingham Vineyard and creating wholesome moments with our Wellness Walks with Hoka. We also can’t forget about when we ran on a rooftop running track with PUMA and their Team GB athlete, Jack Rowe…

2024 marks a big year for Footpatrol and our drive towards being more than just a lifestyle footwear retailer. We see the synergy between our sneaker enthusiast and our running obsessors – a love for storytelling and product. 

As we make our way through this year, we have a series of exciting activations, brand challenges and more, to put our running product and community on the front line. 

Keep your shoes laced, your short shorts on and your speedy sunglasses at the ready. The FP RC will be making a return and we will be looking to do more partnerships than we ever have before. 

*Our top tip: You’ll want to become regular at our community runs, you may just get lucky with some special prizes…. 

Stay tuned to the Footpatrol RC instagram for the first dates of the FP RC Community Runs coming soon to Soho! 

Checkout out our latest performance offerings HERE!

The writing is usually on the wall for graffiti artists – but not always when it comes to sneakers. Since hip-hop first exploded out of the South Bronx in the late 70s, sneakers have been intrinsically linked to the culture’s five elements: MCing, DJing, Breakdancing, Knowledge and Graffiti. Influential artists like Run-D.M.C. certainly sent sneaker culture into the stratosphere, but there was a whole generation of b-boys and graffiti artists who were responsible for cementing sneakers in the cultural movement. 

Graffiti, the most underground of all the elements is one area where sneaker culture has been neglected in terms of its cultural influence. On the surface, graffiti and sneaker culture seem to have a loose association with one another, but you only have to look back at films like Wild Style or archival photos of early writers like Henry Chalfant, Futura, Dondi White and Zephyr wearing the same Superstars, Campus and high-top Decade’s worn by B-Boys and MC’s at the time. The same walls that these artists were painting on often became the backdrop for some of the first promo shots and album covers, where artists like KRS-One, Rakim & Eric B and Run-D.M.C. posed against the building walls that were graced with the era’s best graffiti.

Rap and graffiti were about expression, and forerunners in the rap scene were mixing up their style with brand and logo-heavy pieces. Of course, repping the latest sneakers was an essential component to the perfect fit. Adidas and Puma were some of the first brands associated with NYC’s hip-hop scene, but it wasn’t long before Nike got a foot in the scene. At the same time Run–D.M.C. was doing the infamous all-adidas “Kings of Rock” fits, Nike dropped the first ever Jordan which was quickly swept up in hip-hop culture. It’s not unusual to see graffiti kings in retro styles like Penatrators or Cortez either.

Naturally, it didn’t take long for writers to start customizing their kicks, using the sneakers as a canvas for creative expression. Keith Haring, who started his career drawing on blank billboard ads on the subway, was renowned for his sneaker collections. Early shots capture him throwing up wearing Nike Delta Force, K Swiss Briston and adidas Centennial. In 2021, a pair of Nike Penatrators went on sale on eBay featuring hand-drawn graphics by the late artist. The pair, which dates back to 1986 and sold for over $25,000, were placed on auction by the pair’s OG owner, who had the Haring draw on and sign at the opening of the Pop Shop in New York City on ‘the Saturday morning of April 16th, 1986’.

While Haring never got a chance to collaborate with a sneaker brand during his lifetime officially, his iconic work has been rendered onto countless silhouettes posthumous. This crossover between legendary artists and sneaker brands has proved lucrative with high-profile names such as KAWS and Futura, both artists who got their start in graffiti, bringing their signature artwork to the sneaker world. The result has been some of the most influential and collectable styles of all time. Take, for example, Futura’s Nike SB Dunk High “FLOM”, a style considered to be one of the rarest in history. Last year, a pair sold for 63,000 USD at Sotheby’s.

Known as one of the founding fathers of the graffiti movement in NYC, Leonard Hilton McGurr a.k.a. Futura started his career in the 1970s tagging subway walls as Futura 2000, a nod to his favourite movie 2001: A Space Odyssey (Stanley Kubrick). Fascinated with technology and science fiction, Mr McGurr began tagging as Futura 2000, fulfilling the forward-looking promise of that nom de graf through his use of abstraction, expanding the form beyond lettermaking to include impressionistic fields of colour, blooming nimbuses that seemed to be in motion even when holding still. Soon his influential artwork went on to be exhibited and housed in the collections of the Musée de Vire, the Museum of the City of New York, and the Museo de Arte Moderna di Bologna. Despite his ascent into the higher realms of the fine art world, Futura has remained a man of the culture. During his 50-year tenure in the game, he has contributed to all the stages of street culture and has closely collaborated with influential names such as BAPE, Stussy and of course Nike.

According to Dennis Mazur @sneakerdenn, Futura’s relationship with the swoosh began back in 2004 with the OG Flom SB Dunk High. An acronym meaning ‘For Love or Money,’ the sneaker is rendered with a pattern that was created from different denominations of printed money. Only 24 of the works were made. Most were distributed to friends and family at the opening of The Futura Laboratory store in Fukuoka Japan, making it incredibly difficult to find and among the most coveted examples desired by collectors worldwide.

“The message behind the “Shoes For Love or Money is the question Futura raises to the sneaker community at a time where resale culture was truly emerging, it’s amazing how relevant this message is twenty years on,” says Mazur who helped source the rare sneaker sold at Sotheby’s. The London-based sneaker collector and reseller count other styles like the yellow and black treatment of the Flom as part of the Livestrong fundraiser in 2009 as well as Futura’s link-up with Virgil Abloh’s Off-White imprint for a duo of Dunk Lows in 2019. The latter was originally released as a friends-and-family exclusive, but last April eight pairs of the sneakers were auctioned off by Sotheby’s to benefit The Virgil Abloh Foundation, the Art for Justice Fund, the Boys & Girls Club of America, and the Innocence Project. Collectively, the shoes sold for over half a million dollars, with a single pair fetching a jaw-dropping $107,950.

In a Youtube video, Mazur explores some of the more obscure styles from Futura’s Dunk history with Nike including a 2003 SB Dunk low inspired by the NYC subway steel canvas and a super rare 2005 Futura x Stash Nike ID, featuring a mysterious Trenitalia logo, the Italian train operator, which actually looks like an F and an S, the two artists’ initials. He also counts the 2004 U.N.K.L.E. Dunk in the list too. While many associate the model with Futura, due to his signature point man artwork being used on the upper, he had nothing to do with the design. “The Dunkle, which everybody goes crazy over, I see a posting of a Dunkle daily on Instagram, it’s a shoe which is pretty much like a Futura “shoe”, with the UNKLE characters that I created for Mo’ Wax Records in the ‘90s,” Futura told Sneakerheadz. “And I never really liked it. I don’t want to blow up the spot and say it was completely unauthorised, but it was a little bit like “Oh…oh you’re doing it? Oh ok.” Y’know, thanks for asking me.” 

In a recent interview with GQ, Futura explained that the key to a good collaboration is being a good team player and building relationships. “The more you work together as a team, the easier it is to stack some Ws. If there’s egos and in-fighting, you’re probably not going to win as much in the long term.” Back in October last year, news leaked of another upcoming FL SB Dunk collaboration meaning we can expect more from this fruitful relationship. Unlike the U.N.KL.E. and Off-White sneakers, which featured creative additions of his work on the sneakers, this upcoming release will see Futura have full creative control over the look and feel of the sneaker, just as he did back in the day. 

Of course, Futura isn’t the only graffiti artist to get a Nike collab. NYC-born graffiti artist Eric Haze added his signature style to a Dunk High and a Dunk Low, both of which were one of the earliest instances of an artist collaborating on a pair of sneakers. Like Futura’s, Haze’s release was extremely limited with only about 1,000 pairs produced. The High and Low SB Dunk editions feature an airbrushed design, which also gives off the “Fade” look.

In an interview with Japanese magazine, BOON, Haze revealed some details about how the collaboration came about: “About last fall, Nike asked me if I was interested in a limited edition Dunk model. When they told me that they could now do spray painting, I decided to proceed with the project.” He notes the custom box, which featured stencilled artwork as a perfect addition to the product design, but admitted it was one of the biggest challenges of the project. “To be honest, I had a hard time designing a custom box. The box Nike sent me was flat before assembly, but I was confused as to which side would be where… Sometimes the layout was different from what I imagined.”

Another musical collaboration under the SB Dunk series which features hidden graffiti is the 2007 release from MF DOOM. While the high-top Dunk celebrates the acclaimed rapper, the logo on the heel is the tag DOOM used when he wrote graffiti. Elsewhere, the SB Dunk series has also produced other standouts from graffiti greats like Stash (Josh Franklin) who dropped 50 pairs of his Nike Dunk at the famed Paris concept store Colette in 2003. Released as part of his travelling exhibition, “Tools Of The Trade,” the sneaker was printed with Stash’s tags on the lateral side of the heel and is accented with a paint drip motif on the quarter panels. Due to its rarity, the Dunk sold at an unprecedented price of EUR 350, atypical of classic Nike Dunks at the time. What made this pair so special was that each box was numbered and personalized by the Stash himself, with his graffiti tag on the exterior lid and side label. It’s this type of detail and care that truly blurs the line between sneakers and art.

The success of the original release inspired Stash to release a special Nike Air Force 1 20 years later. Released in March 2022, Nike and Stash dropped an Uptown inspired by that rare classic at SKP S as a part of the Style in Revolt exhibition. This reboot was faithfully rendered to the original Dunk design with the help of Stash and local artisans to update this collectable grail. Haze also reworked the AF1, adding his tags to an all-white pair in 2016 as did Craig Costello, aka KR, who added the KRINK silver treatment to a pair in 2008.

Beyond the Dunk and AF1 series, Mazur counts other standout sneaker-graffiti collaborators like Mr Cartoon and KAWS. KAWS first collaborated with DC Shoes in 2001, followed by BAPE on a number of classic Bapestas and Chompers colourways in the mid-2000s. The New York-based artist then worked with Nike on an Air Force 1 in 2007 and on an Air Max 90 in 2008, before coming with the instant classic Jordan 4s duo in 2017. On the West Coast, Mr Cartoon has a few memorable Air Force 1s to his name – the iconic Mr Cartoon Spiderweb and Clown set (2004-05), the Livestrong pair, and a few other AF1s were characterised by the artist’s pronounced tattoo-art influences and his LA and Mexican heritage.

More recently artists like Neckface have dropped SB Dunk editions (2013 and 2022) and last year’s RAMM:ΣLL:ZΣΣ Dunk with Supreme sold out in seconds. Outside of Nike, major brands like Adidas have tapped underground names like Kunle Martins aka EARSNOT, who has designed a duo of Adidas tied to his IRAK crew. The prolific writer first teamed up with Adi in 2007 and 2008 for a pair of IRAK x Adidas Remix EQT Sport Runners. He expanded the line-up in 2022 with another pair of IRAK x Adidas ZX 8000, which he explained in an interview with Brendan Dunne of Complex was inspired by the GORE-TEX outerwear he grew up within in his possession.

In that same interview, he revealed why technical outerwear became so popular in the graffiti community. “They weren’t things that we could really afford, so we had to steal them,” he says of his obsession with functional clothing. “Wearing expensive clothes and then painting and ruining your clothes—it doesn’t make any sense,” he says. “There’s no consistent line of thought throughout the whole thing. I’ve been in a subway tunnel wearing all white before.” 

Martins admits that he was never driven by hype sneaker culture, but instead opted for more practical footwear. “The only thought I’m thinking of is being electrocuted to death or tripping and falling and a train hitting me,” he explains. “Neither of those things has happened—knock on wood—yet.”

While most graffiti artists like Martins favour more inconspicuous dress to avoid capture, some communities buck the trend and embrace a more flashy approach. Nike’s futuristic Air Max 97 ‘Silver Bullet’ struck a chord in Milan when it was first released in 1997. “They looked like they were from another planet,’ Sha Ribeiro, a member of the graffiti group Lords of Vetra told Sneaker Freaker. “I mean, wearing them, you look like a fucking alien from another planet entirely.”

The crew, whose name paid homage to Casa Vetra, a park in the middle of Milan, were notorious for tagging and bombing around the city, in particular the subway system tunnels. Throwback photos capture members proudly posing in front of idle trains with aerosol cans in hand and the reflective details of their ir Air Max 97’s 3M illuminating from the flash.

Given that most of the collaborative graffiti sneakers are locked away on ice in the collections of diehard sneakerheads around the world, it’s refreshing that actual writers continue to take a less precious approach to their footwear. Known names like 1UP crew wear nondescript styles from Nike and adidas when bombing locations, while crews like @crapsule2000 opt for performance brands like LA Sportiva and Salomon to negotiate the practical demands of their urban environments: whether it’s abseiling down walls to throw up giant tags on the side of buildings or surfin subway trains in Berlin.

Graffiti writer Touch notes that the boosting popular sneaker styles like the Airmax has been a big part of the culture in the UK. The Brentford-raised writer reveals in an interview with The Graffiti Hub that he met a lot of graffiti writers in the scene through theft. “I’ve been out with 20 people from the street running up shops for jeans, jackets, shirts, jumpers and shoes. Basically every shop in London I’ve raised something from, whether it’s an electrical shop or a clothing store.” He goes on to say the main retailers he used to hit were designer stores like Ralph Lauren, Stone Island and renowned sneaker stores like Size. According to London-based cultural commentator @gullythreads, one of the techniques often used by writers to steal popular sneakers was to take odd display pairs from various stores. “You started having right foot, left foot, where you would raise one shoe from one shop and then get the other shoe from another shop.”

With so much hype around the current sneaker market and such a deep history of sneakers within the culture of the graffiti scene, it’s no wonder that more and more brands are embracing this cultural exchange. As Graffid notes, “They’re not only recognizing graffiti artists but are also providing them with a platform to reach a global audience. It’s a harmonious partnership where both the art form and the footwear benefit, pushing boundaries and sparking fresh trends within the industry.” Of course, there will always be a culture for underground artists to aquire their favourite kicks through criminal means. After all, it’s this counterculture mentality which maintains the street credibility of major corporate brands like Nike and adidas within the scene. But for those writers who have broken through to the mainstream, the opportunity of putting their art out onto the covetable styles they grew up boosting is a great way to turn such a shoe into a narrative, a piece of graffiti storytelling that connects the wearer to the broader context of street culture.

Ahead of the much-anticipated launch of his Air Max 95’s, The ‘Air in Colour’ exhibition celebrated the St. Albans born designer, Lorenz.og’s first retrospective. Exploring the plethora of Nike silhouettes, each with the unique adaptation of his ‘Patented Colour Schemes’, Lorenzo Federici staged the breadth of his work in Soho on Friday. Of course, being hosted around the corner from Footpatrol we had to make sure we were on site to look at this incredible body of work.

From Off White Air Max 97s to Stussys Nike Air Max 2013, the exhibition genuinely speaks to the versatility of Lorenzo’s style and attitude to his work that certainly goes beyond just customising. Of course, on display were the ‘Dusk’ and ‘Volcano’ Air Max’s which attracted many, however the central display area had attendees keen to discuss with the other which was their favourite piece.

Take a look at some images of the event, let us know which stood out to you.

Aside from sneakers, one thing we love at Footpatrol is music. From our Frequent Players franchise to hosting such things as Lord Apex’s album party in store, we’re always on the hunt for those who are changing the game.

With that said, early last week we had the opportunity to spend some time with UK artist Lancey. Heading down to get a first hand look at a studio session, we got to bear witness to his creative process and in turn, the recording of new music. A great insight into a creative doing his thing.

Whilst there, Lancey sported our most recent collaboration, the Footpatrol x PUMA Velophasis. This in turn sparked a conversation about the nuances between fashion and music, and how one lends itself to the other for him and his daily process. We caught a little bit of this on video, which you can now watch below.

The Footpatrol x PUMA Velophasis is available both online and in-stores.

Footpatrol: Hey Joey, Hope you’re good and the Xmas/NY break was chill. Can you start by telling us a bit about yourself and what it is you do? 

Joe Goodwin: Hey. It was all good, thank you! So, yeah, my name is Joe, or Joey as a lot of people call me these days. I’m a 25-year-old kid, who is not so much of a kid anymore aha! Time really flies. I’ve blinked and the last 3 years of my life have gone by. I’m from a super small town called Worcester where I worked in branding, and now I kind of do a bit of everything. 

It’s quite hard to describe what I actually do. I do a lot: producing, marketing, writing, art direction. I guess I’m a ‘creative’. I hate saying that though, because it makes me sound like I’m really talented. I’m not, I just know a lot of talented people that I connect with other talented people to create cool things.  I also know a lot of great people who have given me the opportunity to work on a load of things, and somehow I’ve always been quite good at them. At least, I hope. 

FP: We’re aware you’ve recently gone freelance, a challenge fraught with great rewards but also uncertainty. Before we get onto that though, can you take us back to what I can only assume was another big lifestyle choice and tell us about when you moved to Japan? 

JG: Going to Japan is the biggest, best, and most important decision I’ve ever made so far. Maybe the most important that I will ever make. Before Japan, the world was so small. 22-year-old me could never believe the things I’m doing now. It all started writing for sabukaru, and Bianco, the Editor-in-Chief,  invited me over to work in Tokyo. 

At the start, I kind of thought this was like those times when you tell your friend who you’ve not seen for years that you should get a drink together soon. The thought is there, but you both know it will never happen. But then the borders opened, Bianco hit me up and told me ‘Let’s go, book a flight, we’re ready’. So I did, and then a few months later I found myself on a flight by myself heading to the other side of the world to live. I owe a lot to Bianco. He barely knew me then, but believed in me right from the start even though I had no college or university degree, and had never worked in fashion before this. 

Since moving there, I have met friends that I’d call family, I’ve gone from never working in fashion to working with brands that I adore, and I’ve had interviews with, eaten meals with, and even got drunk with idols of mine. In my short 18 months there I feel like I lived a lifetime with the amount we worked (and partied), but in return, it’s given me a whole new life now that I’m back home.

FP: Some of my favourite creative campaigns have come out of Sabukaru, and it’s great to know you’ve been at the helm of a lot of these projects, can you share a bit more on your time at Sabukaru as it always seems like a portal into emerging and untapped talents.

JG: Thanks so much! In reality, though, I played a small part in what is an absolute beast of a machine. I was always hard working before Japan. Maybe it’s my dad’s bricklayer blood in me. But those guys, that team, their work ethic is different. I still remember my first day. Most first days are slow, relaxed, chilled. Not this one. I ended up needing to stay until 9pm making sure we hit deadlines. And that wasn’t a rare thing. But I loved every single second of it. It’s hard work, but if you work for 6 months there, you come out the other side a monster. 

sabukaru and its agency, Bianco Bianco, really do have something special going on. It’s got two sides of the coin. It has razor-sharp creative and strategic killers, but everyone is also such a lovable person that you want to work with or work hard for. We were a bit crazy, all partied too hard, but when it came down to work, no one did it better. I think this shows with a lot of the work we put out. It’s so different from other agencies and magazines because the people inside it are all so different. And this is because Bianco believes in young, creative people so much, and has a talent for creating an incredible community of people. 

Sabukaru is also likely one of the only agencies that are genuinely inside the culture. I know a lot of people claim that, and it’s partially true for most, but with sabukaru it’s completely true. At every party, we were there. If an artist we believed in was doing something, we’d support it. If there was a young kid who Bianco thought had potential, he’d reach out. We weren’t just watching stuff happen, we were experiencing it firsthand or even sometimes making it happen, which for anyone who wants to be a part of a subculture is an absolute must thing to do. Reading about things just isn’t the same. You have to be amongst it.

FP: Just how does Tokyo compare to Worcester haha? At the time, what were the things you missed about the UK when you moved? And now that you’re back, what is it you’ll miss most about Japan? 

JG: For anyone reading this who has been to Worcester, which is likely no one, you’ll know just how different it is. Nothing really happens there, it’s small, quiet, safe. Not bad, but definitely not good. Tokyo is basically a different universe. Huge buildings, bright lights, full of interesting people doing interesting things. It feels as if you can genuinely do anything there, and you can. Like I said before, I felt like I lived an entire lifetime just in my short time there, because you could just be anyone you want to be, as cliche as that sounds. 

That being said, I never realised how English I was until I moved out of England aha. I didn’t miss much. I’ve also been good at separation so being away from everyone wasn’t hard. But I did miss the realness of everything. Japan, Tokyo especially, feels like a different reality. This is great in ways, and other ways not so great. I missed the roughness of the real world, people yelling at you to hurry up, people barging past you on the train, people calling you out on your bullshit. It sounds weird, but when you’re surrounded by a culture that is so polite, you start to miss people being more ‘real’. A very pessimistic English view right there aha. 

As for what I’ll miss the most: the food. Without a doubt. Everyone says it, but you’ll never understand what people mean until you go yourself. Second to that, the partying. Tokyo nights out are special. Again, it’s like a different reality. You can’t explain it. Finally, my work husband Natsuki. I spent 90% of my time in Japan eating, drinking, and working next to him, and I owe him a lot for what he taught me. He’s the real person who should be doing this interview with you. 

FP: What have been some of your favourite projects to work on to date? And any creatives you think need a little shoutout? 

JG: A super hard question. There’s a few for different reasons. My editorial I art directed and produced for CMMAWEAR is up there because it was one of my last shoots before heading back, and it really showed how much I had learned in such a short time. I went from a kid who had never been on a fashion production, carrying massive bags for 7 hours in torrential rain, to then producing an entire editorial where I managed and creatively led something I am massively proud of. 

Second was the editorial we shot for OALLERY, an amazing store in Amsterdam run by our friend. It was for their 5th anniversary, and man do they know how to throw an activation. We were literally treated like royalty: staying in one of the best hotels in the city, dinners every night, anything we could ask for, we had. The editorial itself wasn’t a massive production, just a small and nimble team, but it was the fact that I had been flown out to one of my favourite cities in the world to style and produce a fashion shoot was what made this one so special; a kid from a tiny town where they used to laugh at me for wearing baggy trousers was now doing this. Also a huge shout out to Sacha and Gjis at OALLERY. Some of the best people in the industry! 

Finally, and the one I think is my favourite, was the most recent event I produced – The _J.L.A.L_x SoundSports London pop-up. This for me felt like the first project of the rest of my career. Sounds corny, it is, but this was a full circle moment for me. Having been in Tokyo for close to 2 years, working alongside people who were absolute bosses, this time it was on me to be the boss, on my home turf, after those same guys had already done the Tokyo and Korea pop-up (which Natsuki, my aforementioned work husband produced, so there was also some competition here to make it better). Long story short, after weeks of stress, the opening party was completely packed not even an hour after opening. I remember thinking about how back in the day, something like this was something I’d kill to go to, but could never because of living in Worcester – and now I am the one throwing it.

 As for creatives to shout out, every one of the guys at _J.L-A.L_. Not only for the trust on the project but also for everything they are achieving. Same for the guys over at Omar Afridi, Hayate and Jun. Incredible guys, incredible brand. A huge shout also to Graeme Gaughan, who never hesitates to lend me advice when I need it and who is also a stellar creative. Without him, I don’t think I would have even made it to be a freelancer. And finally, a massive shout to Aaron Dezonie. He runs the brand Dark Circle, and helped me out a tonne when it came to the recent event.

FP: Now on your return to the UK, what was the driving force to go freelance? 

JG: Honestly, I pretty much fell into it. Well, it was more like curated luck. I obviously knew I needed a backup plan if I was to move back to the UK, so over the months I made sure to meet loads of new people. But, it was all about making friends first, never clients or contacts. That’s important for anyone wanting to be a freelancer. Every chance I had I would ‘network’ (which in Japan translates to going on a night out and getting drunk). I met so many amazing friends through both work and in general, and luckily managed to build myself up a great list of people who just so happened to have projects happening by the time I landed back in the UK.

But that being said, I did always love the idea of being freelance because I have worked agency side for now almost 6 years. I started to want to go brand side to get more of an understanding of it, and I also felt like I was missing some passion having to constantly work with different brands on different projects. So, freelance for me is perfect. I am kind of like a tiny agency but am able to put my focus on specific brands, and luckily I have had the pleasure of working with some of my absolute favourites in the short time I have been freelance.

FP: We know you’ve orchestrated a lot of events too, often heaving with creatives and like-minded people, is this something that you will continue to try and do in 2024?

JG: I would love to. It’s a lot of work. More work than anything else I have ever done. There are so many moving parts, things that could go wrong, things to worry about and that will likely keep you up at night, but the feeling you get when it’s over and you see what you’ve achieved – no other type of project compares. You can create an amazing editorial, but all you usually do is see it on a screen at the end of the day. Nothing compares to physical experiences like an event. It’s a perfect excuse to go and meet new, like-minded people, make new friends, and keep building up your network.

FP: Are there any projects in the pipeline that can be discussed? Or anywhere people can keep a close eye on what youre getting up to? 

JG: Absolutely. I have a tonne going on during Fashion Week, one mainly being an event with the bag brand côte&ciel and MRBAILEY. A small, intimate talk between the two designers, which will be a really lovely change of pace compared to other events I’ve done. Also, in a few weeks, I’ll be producing an editorial in Milan, with an art director that I have loved for a while now. It’s going to be incredible, definitely my best one yet, and I’m hoping it will be a catalyst for many more projects like this. 

Apart from that, it’s actually not to do with fashion. One of my best friends has recently launched a skincare brand that I worked on before going away to Tokyo when I used to work in branding. Now that I’m back, I am back working with him and we have some wild plans. It’s going to be amazing to see all that I have learned in Tokyo and implement it into what I used to do. The brand is called KHO, and you should all check it out.

FP: Well, thank you for taking the time to talk to us Joey, and we look forward to seeing what’s to come! Again, if there are any shoutouts or any words of wisdom for wanna-be freelancers looking to take the leap, or even people looking to venture to another country to live, what can you give them? 

JG: Perhaps this is terrible advice, but I think it’s important to say that sometimes it’s okay to be naive. Luck favours the brave. Reach out to people you think will never get back to you. Try out different things and push yourself. If you feel like you can’t do something, do it anyway. You’ll make it work, and if you can’t, then find someone who can. A hard pill I had to swallow was that I am not really that talented at most things I enjoy doing, but I am good at finding someone who is. So go out, meet as many of these talented people as you can, and be nice to them when you do. Good people gravitate towards good people, and eventually, you’ll find yourself with a huge list of contacts who not only want to work with you but who are your genuine friends too. Win-win.

Launched in 2012, Tokyo Design Studio acted as a research and development hub for New Balance across Japan and worldwide. Shugo Moritani, Design Manager at Tokyo Design Studio, previously ISSEY MIYAKE and YOHJI YAMAMOTO has created a space along with the wider NB team to bring together a unique take on athleticism and design. 

Fast forward to 2020 TDS opened up New Balance T House, a two-storey design studio and retail space in a 122-year-old converted traditional Japanese ‘kura’ warehouse. T-HOUSE fuses a concept store and a design studio, bringing together consumers and designers in a new and modern way.

TDS adopts a unique and independent creative culture and brand philosophy with a respect for craftsmanship. With all that is in, and surrounds Tokyo/Japan, is why works with the likes of AURALEE, Nanamica, Stone Island and Snow Peak work so harmoniously.

The rapid trajectory of outdoor fashion and its integration into new markets holds immense importance. The belief in collaboration as a catalyst for substantial growth, learning, and inspiration underscores the significance of envisioning products and values that go beyond individual efforts, emphasising the importance of sharing these innovations with customers.

Normally, the team based in the United States provides designers and influential individuals the chance to collaborate on distinctive colour combinations, intriguing materials or patterns, and, in the unique case of Jaden Smith, entirely new shoe designs. Consequently, the Tokyo Design Studio’s versions are more limited in quantity but less restricted in the creative freedom exercised.

Nevertheless, these designs remain firmly grounded in a set of stringent design principles: Precision, Nature Tech, Sports Craft, Protection, but with a focus on enhancing the wearer’s daily life.

Sneaker collaborations aren’t anything new. In-fact, they’ve been around for decades and often symbolise the more sought sneakers when it comes to collectors. Most of the time, it signals a coming together between a brand and a fan favourite persona. Other times though, we’ll get occasions whereby two brands come together. This can often bring two different sorts of markets together. If it’s not the latest rapper or athlete who is taking their relevant fields by storm, sportswear brands often or not team up with the giants within streetwear. You only have to look at the Nike Supreme collaborations or Palace with their New Balance efforts of even the likes of Salomon over recent years. 

Sometimes though, polar opposites come together to create a standout moment and usually this involves sportswear brands and high end fashion designers. 

From Gucci and adidas, Converse and Maison Margiela or even Nike and Louis Vuitton. Throughout the years these collaborations have become elusive beasts within the world of sneakers. They have the power to create such a juxtaposition that they can stop the sneaker world in its tracks and creates a sense of excitement. 

With Paris fashion week kicking off this week, we take a look back at some of our favourite collaborations to date…

Louis Vuitton x Nike Air Force 1

When it comes to the Nike Air Force 1, it’s steeped in so much history that we don’t think we need to tell you about its beginnings. Since that debut in 1982 however, the silhouette has often been the base for many special iterations from both Nike themselves and collaborative partners. 

Back in June 2021 though, a collection of Air Force 1’s made their way down a runway at Paris Fashion Week. That show was of course Louis Vuitton. Conceived by the create mind of the late Virgil Abloh who brought the pair together with his close ties to the Swoosh and his Creative Director role he held at Louis Vuitton at the time it was a masterclass of the pairing. A silhouette made for the court but taken by storm on the streets, these pairs were handcrafted with the finest materials in Italy. With a showcasing of 47 different variants and an exhibition for the pairs, only 9 made it to retail and even then, you had to be a special customer to be able to acquire a pair.

Converse x Maison Margiela 

An original within the world of sneakers Converse entered the world of high end fashion collaborations with one of the most illusive and secretive within the game, Maison Margiela. Founded back in 1988 by Belgian designer Martin Margiela and Jenny Meirens, the French luxury brand became known for their use of white paint. Perhaps an odd thing to be known for but since has become synonymous with the brand. When moving into their headquarters the duo collected furniture to furnish the building but wanted a sense of cohesion and decided that every single thing would be painted with white emulsion. 

“There are two reasons for white – one practical, one conceptual”. 

Known for its matte finish and impossible nature to clean, any wear and tear becomes a story telling piece and it was this concept that became the foundation for this coming together. With a Chuck Taylor High and Low receiving the MM treating, both were coated in a thick layer or white paint. With multiple colours hidden underneath the paint, once worn the story telling would start with cracking and peeling to reveal a colour.

Loewe x ON

One of the more recent collaborations, Loewe x ON is one of those duos that just makes perfect sense. Having only been founded in 2010, ON have been taking the sports world by storm. With their modern and frankly eye-catching technology it’s been a brand on the rise. Over the last couple of years, its become a want from brands to collaborate with them and create a juxtaposition of concepts. However, this doesn’t always need to be the case.

This is to be said with their collaboration with Loewe. With JW Andersons Jonathan Anderson now at the helm, this collaboration was a synergy of approaches. Things started out with a colourful array of Cloudventures. Again, fitting in with Loewe’s experimental approach to colours, this caused quite the stir within the fashion world and became an alternative to a designers own take on sneakers. This however was just the beginning. Returning in late ’23, early ’24 the pair developed the CloudTilt which turned out to be a more bespoke offering. This follows in the same footsteps of a rainbow of colours but also introduced the brands latest tech ‘CloudTec Phase’.

Dior x Air Jordan 1 High OG

Prior to Nike and their venture with Louis Vuitton, It was Jordan brand to create a storm within the world of sportswear and high end fashion collaborations. Making its debut back in December 2020 at the Dior Mens Miami show with Kim Jones, the collaboration became known as ‘Air Dior’. It was a symbol of two iconic logos merging and it’s safe to say, the sneaker world went crazy. It was all perfect timing. The Air Jordan 1 high has always been an icon and a must have but over the last few years thanks to an influx of desirable launches, it was a must have. This was always going to be a win win.

Jil Sander x PUMA

These days designer collaborations have cemented their place within the mainstream market, merging high-fashion and sportswear as one entity. However, how did it all begin? Believe it or not, PUMA was the first brand to introduce this concept to the wider market. In 1998, PUMA led the charge partnering with fellow german designer Jil Sander to elevate and rework their already well established PUMA King Football boot – famously worn by footballing legend Pelé. In an interview with I-D magazine Jil Sander mentioned how the shoe is her interpretation of a casual sneaker constructed in a high-class way.

Gucci x adidas

Having first teamed up in 2022, adidas and Gucci are becoming frequent collaborators and in ’23 continued this partnership with another helping of graphical designs. A landmark launch, this collaboration brought two power houses from their own respective sectors together to celebrate design and innovation. Tapping into their archive, the bring together a sense of heritage and prestige to a sportswear focussed offering to capture the minds of both the fashionistas and sneakerhead.

Junya Watanabe x Nike

When you search for Nike’s first collaboration, you get a multitude of answers. Most highlight Michael Jordan as their first, others would say early player PEs or even SMUs such as the 1994 Nike GTS produced for the Seinfeld show. From our strenuous digging through the internet trying to find Nikes first true retailed brand collaboration, we landed on this, the Junya Watanabe x Nike Zoom Haven. Released in 1999, this was the world’s first introduction into what we now know as the modern CDG collaboration. This collaboration not only sold well, but also helped push the Nike Zoom Haven’s popularity within the wider market. 

To kick start our Frequent Players franchise in ’24, we travel from Birmingham to Copenhagen with Bayden. Having grown up within a family who constantly had on the likes of Reggae, Soul and Rock but the current sound on his estate being Grime and Jungle it meant we’re in for a real journey of genres for our latest mix.

We sit down with Bayden to learn more about his move to Copenhagen, the music scene out there and how those influences have helped him on his journey within the world of music.

Footpatrol: Hey Chad, hope you’re well and your christmas + new year has been chilled. We’re looking forward to kicking off the year with you and I’m personally excited it’s with someone so close to home.

Can you tell us a bit about yourself and what it is you do?  

CB: All good thanks, family time at Christmas is always special. I’m looking forward to ‘24 and this is a great place to start, appreciate the opportunity! So, I’m born and raised in Birmingham, lived some time in Manchester and then moved to Copenhagen. At the moment, I’m a DJ and work in events and projects. 

FP: Why the move to Copenhagen?

CB: Truthfully, I just wanted to experience living outside of the UK but didn’t necessarily want to take that carefree traveler route! I was finishing up my Bachelor’s degree in Manchester and applied for a Master’s in Copenhagen and that was that, it gave the move a purpose.

FP: And how was the transition? You’ve been there a while now? 

CB: Yep, 7 years. It was actually pretty smooth, it helped to have that grounding as a student but I always had aspirations to get involved and explore the subcultural scenes of the city. 

I’ve met some good people and made great friends through shared interest in music, culture etc. It’s essential to have a strong network!

FP: Where does the interest in DJing start? And what have been your past and present influences?

CB: I come from a household that always had music playing and grew up listening to Reggae, Dancehall, Soul & Rock through my family. But being raised on a council estate, the sound at the time was Grime, Garage, Jungle etc. That blend of influences will never leave me, I love the pirate radio sound and looking to the past for music. By the time I actually stepped to the decks though, I was into House, Disco, Modern Soul & Boogie records. Recently, I guess I’ve been banging Hip Hop, RnB, Afrobeats, Amapiano & UK club stuff  so… Yeah, it fluctuates a lot. I just love tunes. 

FP: You’ve frequented Balamii, NTS, and other community channels, can you tell us about your connection to the channels and their importance in pushing music from around the world?

CB: Authenticity. That’s what it’s about for me. This kind of radio is so great as it champions authentic music, sounds and real people. It connects the dots within a local community and extends that across the world. There is so much amazing music out there. Personally, I just love the freedom and formless nature of doing radio, you can really experiment and just play what you feel without the pressure of keeping a dance floor moving. 

FP: Can you also tell us about VIM and elaborate on just what is the ‘VIBESCAPE’

CB: VIM = Energy. The VIBESCAPE is found in the tensions of cultural heritage and diaspora futures. It’s that continuum of energy that stems from pre-colonial Africa through to the current day and beyond. It’s about exploring, celebrating and championing creativity, music, dance and big positive vibes and again, energy! 

We’ve been putting on parties and events with this foundation in mind for a couple of years now and the support and love from our community has been amazing. Huge thanks and love to them and of course to Kai and Edem, we’re a strong team and good friends!

FP: How does DJing in Copenhagen compare to the UK? On the face of it and when we’ve previously visited, Copenhagen seems a lot more laid back and relaxed. Is there a big nightlife scene?

CB: This is actually mad but I’ve never actually played physically in the UK. But generally, the UK has a long history of respect and reverence for club music and DJ culture and it’s embedded into the culture. Copenhagen, not so much, it’s a much more homogenous place and the scene is naturally a lot smaller. Though there is definitely a nicely bubbling nightlife scene which is growing for sure. Dane’s love to let loose. 

FP: Often the connection between music and sneakers is tightly knitted, whether its origin story of Air Force in NYC or the constant dispute between which UK city ‘owns’ the 110.

How does Copenhagen compare to other cities in this regard? Does the ‘sneakerhead’ exist? 

CB: The sneakerhead definitely does exist out here, there’s a lot of enthusiasts. It’s a little more of a trend-based model though I find. Once a trainer is hot out there you cannot move for it but you’ll find them discarded at flea markets by the next year. Birmingham owns 110’s by the way haha. 

FP: Do you have any scheduled shows or upcoming mixes people can keep an eye out for? 

CB: You know what, I’ve had a bit of a break from radio but I really enjoyed doing the Frequent Players mix in a similar style. I’m enthused to get back on radio so keep an ear out! Also, keep an eye on VIM @vim.1.25 as there’s a lot to come this year!

FP: Thank you for taking the time to talk to us Chad, we wish you all the best in 2024 and if there are any shoutouts or words of wisdom to bestow on readers for 2024 then the floor is yours. 

CB: Appreciate it. _____ TBC

To celebrate the launch of the latest Eames x Reebok collection, we headed down to well known mid century furniture store 2&4 Vintage. A treasure trove of delights, we sat down with owner Maurice to learn more about the shop, the unique criteria of product they deal in and of course, a closer look at the latest Eames x Reebok collection.

Shop the Eames x Reebok collection online at Footpatrol here.

FP: Hey Maurice, hope you’re well, thank you for letting us come down and work with you on the latest EAMES x Reebok Collection. Can you tell us a bit about yourself and what it is you do?  

Maurice: We specialise in the curation & restoration of mid-century furniture & lighting. Mostly items from the 1960’s, 70’s & 80’s. Scandinavian & British modernist items are a staple for the shop.

FP: How did 2&4 Vintage come to be? 

Maurice: 2&4 Vintage have evolved from a background in furniture & interior accessories design and production during the late 90’s & early 00’s. A dissolution with mass production & disposable culture led to re-visiting past history of modernist design & hence 2&4 Vintage furniture began. 

FP: With 2&4 offering a constantly evolving range of iconic Scandinavian and British design, what are some of your favourite styles to date? And why do you think these styles are showing permanent relevance and appeal, as opposed to a passing trend?

Maurice: The standout features of mid-century style is how ergonomically correct they are for todays modern living. Furthermore, the build quality is something that modern production often doesn’t have. Obviously, most, if not all, of the timbers used are not available on the market today. Timbers like rosewood, afromosa and burmese teak are rainforest protected, so it is very important that the furniture made from these materials are brought back to life by restoration, and kept for the next generation.  

FP: Are there any patterns in what you see being bought or even sold at the moment? A particular chair? Light? table?

Maurice: This year we have seen a younger informed shopper buying items, aware of the history of the product, conscience of sustainability & also understanding the timeless quality of these items.

FP: Now, we know that there is also a restoration service. Is it a case of no job is to big, or do you thrive off the challenges that may come with repairing such intricate and delicate designs?

Maurice: The restoration is dedicated to our own inhouse carefully selected items. It’s very rewarding to see design classics restored, and brought back to their original state. 

FP: Do you have any current favourite designers that have adopted that mid-century style? 

Maurice: I’m aware that there are modern designers that are influenced by mid-century style, but for me they never match the elegance of the originals. 

FP: How often do you see EAMES coming in and out of the shop? And have you done any recent restorations on their products? 

Maurice: Eames designs are obviously classics, and fit perfectly into the shop mix of Scandinavian wood based items. We don’t see Eames items as often as we like.

FP:  What are some of your favourite EAMES pieces?

Maurice: The original Herman Miller designs are the favourite.

FP: Can you give us any do’s and don’ts when it comes to handling and restoring not only EAMES items but infact any from a similar period? 

Maurice: It’s very important to do your research into techniques, as each item has its own requirements, and authenticity is upmost in all restoration.

FP: We know you also host events and exclusive showcases like the recent John McLusky James Bond exhibit. Can you tell us more about what might be planned for 2024? 

Maurice: The first showcase of the year will be at the end of January with a series of ten one-off chairs. Details to be announced on Instagram. 

FP: Well, again thank you for letting us come and talk with you, and if there are any shoutouts or words of wisdom for people perhaps looking to get into restoration or even thinking of opening a store themselves? 

Maurice: You should have a passion for and understanding of the product you sell.

In terms of innovation, the running world has seen it all. Over the years the gap between brands has become smaller and smaller. Designers are now examining running shoes the same way a scientist builds a rocket ship. Extracting the absolute most, from the absolute minimum. What we now know as ‘super shoes’, each brand are constantly exploring and developing ways in which to help propel their athletes to the top of the leader boards.

This boundary pushing obsession has always been prevalent within running. Starting with lower profile, lightweight runners such as the Nike Daybreak worn by Joan Benoit Samuelson in 1984 or the Nike Zoom Streak Ekiden worn by Paula Radcliff in 2002. In 2017 though, things began to change. The 2 hour marathon was in the eyesights of Nike and INEOS. An elusive time never before thought to be achievable. This was of course the ‘Breaking 2’ project. 

With one eye looking back 63 years into the past, when the famed Sir Roger Bannister ran the first sub-four-minute mile, and the other focused on this new phenomenon. It led running giants Nike, into a whole new world of super shoes. One which made every other running brand take note. Though the barrier wasn’t broke (all be it by only 25 seconds), it showed the possible, may in fact be possible. 

Fast forward to 2023 however and the carbon plated super shoe is now a normality within all major performance brands. Nike with their NEXT% line, adidas with the Pro Evo 1 and now brands such as ON, HOKA, Mizuno and Saucony have entered the game. 

So, why are they called super shoes we hear you ask. This comes down to the technology housed within each shoe. Each with similar concepts in-terms of tech but each doing it in their own unique way. All in aid of pushing the boundaries of possible. It sure has made sure the racing regulators are doing their jobs! 

Super shoes tend to be composed of three key design components. Although the specifics between each brand varry, the overall template stays the same: 

Highly reactive midsole foams : Giving greater energy return and additional cushioning reducing strain to the joints. Most brands utilising PEBAX foams. 

Carbon fiber plate : Offering a greater energy return within each stride, propelling the athlete that little bit more than the standard running shoe can offer.

Rocker type design : Reducing the amount of flexion within the ankle joint, creating a better stride pattern for the athlete as well as conservering more energy. Encouraging the wearer to land more so on their forefoot than anywhere else. 

Here are some technological variants between some brands: the Nike Alphafly has been known to feature additional Air units, adizero Adios Pro utilises carbon rods (rather than a carbon plate) to replicate the metatarsals in the foot, whilst Saucony uses their Speedroll technology as their ‘rocker’ mechanism. 

The list could go on! 

Although the giants continue to battle it out for this year’s elusive top spot, it’s evident that everyone wants a slice of the pie. adidas athlete Tigst Assefa stormed through Berlin in a pair of Adizero Adios Evo Pro 1’s with an incredible women’s world record of 2:11:53, only for Kevin Kiptum two weeks later to do the same in Chicago in Nike’s unreleased Alphafly 3, dominating the course with a new men’s world record of 2:00:35. 

Check out our running offering in-store and online here.

As well as on the center stage though, these super shoes are becoming more and more available to the everyday runner. With the most extreme versions hitting the online stores to be purchased but also filtered down versions to make products available to all types of runners and all types of runs. 

Make sure to stay locked to our social channels for updates on the launch of the Nike NEXT% Alphafly 3, coming soon to Footpatrol!