Author: Bradley Martinez
For the next instalment of Frequent Players Guest mix we bring to you DJ Tess.
We asked Tess to spend some time with us and take to the decks in preparation for part 2 of Footpatrol x Mantra’s night at Phonox, Brixton. Collaborating with people such as Logan and Femme Culture Label, Tess has an individual sound like no other ranging from Dancehall to Bass music.
Since moving to London Tess has made a name for herself within the music scene and has no intentions of slowing down, producing her own individualistic tracks and mixes across London and Europe.
Before she laid down her mix, we asked Tess to sit with us to talk more about herself and how she got to where she is now.
Footpatrol: Tell us about a bit about your journey, how did Tess become DJ Tess?
DJ Tess: So, the journey started when I was a kid, I used to mess around with my sisters cassettes and CD’s, and then growing up I started buying dedicated music magazines and listening to more music. When I was 17 I learnt to play the drums meanwhile, I was going clubbing and I was collecting the mixtapes that where been given away at parties. I remember that I was particularly fascinated by the transition between songs and by the ability of the dj to drive you somewhere with their selection. I decided to do my first mixes starting with a free dj software and ending buying a pair of turntables after 2 months.
FP: You have a really diverse way of implementing multiple genres into your mixes which is refreshing to hear these days. How would you describe your sound to those who aren’t familiar with your music?
DJ Tess: Thank you. In my mixes I try to lead the listener into different states of mind and feelings closer to mine. The music that I listen to gives me a lot of different emotions, so I tend to create mixes that can be felt and that also don’t necessarily stick to a specific genre but more to a similar mood. Regarding music genres I represent these music pathways with UK bass music,with grime, dancehall influences and techno.
FP: Where and/or how do you draw your inspiration from when curating a mix or working on production?
DJ Tess: I get inspired by concrete things that happen in my life or abstract such as self reflections, discussions with people and then I try to translate them into music, as well as the pursuit to create a specific sound that is often influenced by my state of mind and mood. Sometimes I also take inspiration from songs that I like.
FP: Being from Italy, what made you want to come over to the UK? Italy is known for having such a huge music scene, is there much difference between there and here?
DJ Tess: Definitely, the very first need was experiencing the music scene and breathing the culture of the music that I was in love with. Other reasons are to have more artistic opportunities and to improve my English. I agree that in Italy there is a huge community around the electronic music and is crawling with talented musicians. But the main difference is that in the UK is easier to find more varied music genre and almost every big or small scenes tend to speak about social and political issues. Meanwhile in Italy, seems that those topics are not of interest for artists or taking a position is not so common, the smaller underground scene is quite often not in the same city so is still an internet community sometimes
FP: It’s not uncommon that once you get into the music industry the influences that you have around you can sometimes help shape your own style. Do you think that is the case for yourself?
DJ Tess: Absolutely yes. I had my own style from before but I have to recognize that going out to listen some artists that I admire, playing in London radio stations, clubs and keep constantly meeting so many talented and inspiring musicians has shaped my style in a darker and more creative way. I would say also that has given me the ability to be less attached to the musical dojo rules and to dare more.
FP: Bringing it back to something we like to ask our Frequent Players artists. Has there been any producers or DJs who have caught your eye this year you’re excited to hear more form in 2020?
DJ Tess: Oh, there are so many lol. I’m very excited to hear the first official release of AGOSTINO who is a visual artist and musician that I collaborate with on my side project Mala Femmina. Very shortly we are making pieces inspired by our Southern Italian music tradition. I’m also looking forward to hear new music from Nan Kolè, Ehua and Violet, I’ve literally played every tune from them this year and also, I can’t wait for the new Deena Abdelwahed’s album to drop early in 2020.
FP: Well Tess, thank you for spending some time with us. Before you go though, is there anything on the way from DJ Tess that people should start getting excited about?
DJ Tess: Of course! The Mantra X Footpatrol party which I’m playing on the 28th at Phonox in Brixton and definitely some more music to come out in 2020. The first one on the way is my collaborative EP with Nan Kolè out very soon. Thank you guys for inviting me over for a good chat and a mix, Peace!
Straying away from experimenting with existing models and their colour-ways, adidas and YEEZY finally bring the 700 V3 to life. What is easily the most experimental model from the YEEZY line up and moves the 700 line in a new direction.
The YEEZY 700 V3 ‘Azael’ features an upper composed of monofilament engineered mesh with an RPU overlay which adds subtle hints towards the recently dropped 380 ‘Alien’, especially at night when its glow in the dark properties are exposed.
The bootie construction provides a snug fit while the tongue features reflectivity that emits light in darkness. The PU encapsulated EVA midsole provides comfort and durability, and the herringbone rubber outsole offers unique design cues and improved traction.
To enter the IN-STORE raffle, CLICK HERE!
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 have their win sent out to their PAYPAL registered address. In-store raffle winners will be required to collect their win on specific dates given to the winners. On collection, they will need to bring proof of ID.
Pour s’inscrire, vous devez remplir les conditions ci-dessus. IL NE S’AGIT PAS D’UNE INSCRIPTION EN MAGASIN. Les gagnants de la raffle en ligne recevront leur paire à l’adresse postale qu’ils ont renseigné sur leur compte PAYPAL. Les gagnants de la raffle en magasin devront venir récupérer leur paire aux dates indiquées. Pour récupérer leur paire, les gagnants devront présenter une PIÈCE D’IDENTITÉ VALIDE (Permis de conduire, carte d’identité, passeport).
The Air Jordan III is one of a handful of models that is heralded as a timeless classic amongst the signature Air Jordan collection. Designed by Tinker Hatfield in 1988, the silhouette became an instant hit with its exposed air bag – for the first time – and the addition of elephant print.
What Michael Jordan did whilst wearing the shoe is what made the Air Jordan III a favoured and iconic model. With MJ’s second slam dunk contest win, this time wearing AJ III White Cements, came an inspiring and memorable image of flight. And with it, another icon is born — the Jumpman. Here, and with the help of his MVP nomination and a certain Mars Blackmon, Michael Jordan and his sleek footwear are shuttled to fame.
Over the years, the Air Jordan III has seen many colourways from OG to updated iterations and Jordan Brand are back with yet another, bordering on the wild side of things.
Whilst Tinker Hatfield elevated the trend of putting animal-inspired prints on footwear, this latest release epitomises the idea. With multiple animals represented and a faux-fur texture applied to the upper, this Animal Instinct edition of the AJIII takes that legacy to a whole new level. Sat on top of a black and white midsole, This edition also marks a rare appearance of a gum rubber bottom applied to an AJIII.
The Air Jordan III ‘Animal Instinct’ is now SOLD OUT.
Leading up to the end of another year, Converse have brought the Taiwanese boutique Invincible and the Japanese clothing brand that is quickly becoming a must have, Wacko Maria. This three-headed collaboration have taken to Converse’s most iconic silhouette, the Chuck Taylor 70 High and Low. Dressed in an all over print, both shoes speak perfectly to all the brands involved.
Since they arrived on the scene, Wacko Maria have become known for their exaggerated prints and this is clearly something that is brought to the forefront for their latest collaboration with Converse. Having previously collaborated on a leopard print Chuck Taylor back in 2018, these latest iterations come to no surprise that prints have been looked at once again.
Both play more on the theme of that first collaboration and look towards a leopard print style. The high brings together a series desert hues in a blend of yellows and browns whilst the low focuses more for a forest theme with more traditional camouflage colours of deep forest greens and browns.
Both will be launching in-store and online on Thursday 19th December (Available online from 08:00AM), sizes range from UK4 – UK12, priced between £80 – £90.
Half way through his UK tour and gearing up to the grand finale at Printworks, we grabbed the chance to sit down with UK based rapper, Ocean Wisdom to discuss his journey so far and where its leading him, all the way down to his shoe game.
After spending years perfecting his craft, Ocean Wisdom burst on to the scene with his debut track ‘Walkin’. This was where it was all going to begin for him after managing to lay down a faster rap than the iconic ‘Rap God’ by Eminem.
After catching up with Ocean, we headed down to the show at Printworks to see what his live performances are all about!
Read the interview below and check out the video recap here!
Footpatrol – Ocean, you’re known as one of the hardest lyrical MCs, especially within the UK. That title doesn’t come easy, tell us how you got to the stage you are at now what was it like at the start of your career?
Ocean Wisdom – Practice, constantly just practicing my craft. It’s almost like if you’re a rapper, you’re like a football team you always want to get to the top flight, play against the top teams and do well. That’s kind of how I look at it when getting a feature you want to do well. I like to think that I have done well in all the features I’ve had, which definitely helps elevate you and people’s perception of you. A lot of rappers say “real rappers recognises real rappers” same way real people recognise real people, when I’m in the studio with these people we just vibe off each other and you’re always learning stuff and progressing. I take my work seriously and I feel other hard working musicians just gravitate towards that.
FP – You’re someone who has done their fair share of collaborative projects as well, do you get any inspiration from those people you’ve worked with? – To name some of those people, P Money, Dizzie Rascal, Ghetts the list goes on… – or do you draw your inspiration from elsewhere?
OW – Each of them inspire me individually, particularly all of the people I’ve worked with in my career so far. They’re kind of elders to me, like I’ve never worked with anyone younger than me because at the start I was too young for artists to be younger than me. At this age you have people around 19-20 who I haven’t had the chance to work with yet, for me I had a bucket list of people that I wanted to work with and they’re the people who inspired me when I was growing up. That’s why everyone that I have worked with is an inspiration to me.
FP – It must be incredible being able to work with some of your idols?
OW – It surreal, its weird though because often in life the chase is better than the catch you know. With working with your idols its like you chase something and then it lives forever. Where as you might have a girl you really like and you chase her, chase her, chaser her and one day she becomes yours then you realise oh she’s not for me and then you’re stuck. With music you get in the studio with someone sometimes and the tune is dead. I’ve been lucky every time I’ve stepped into the booth with these people the tune has been banging, both parties liking it, and it’s a vibe. You have these dreams and ambitions and then when you put it into fruition you’re like oh it actually worked rather than just an idea that never came out as good as you imagined it.
FP – Many of those people you’ve worked with would say they are Grime artists. Would you say you fall under that bracket or do you think your style and flow comes under a different genre?
OW – I just like to think I have a style that hasn’t got a name, it’s one of those things that I walk a line that has multiple different avenues that exist in the music industry and I just walk in between a few of them. It’s like a venn diagram, I’m walking into many paths but thats my thing.
FP – So essentially diversity is key when it comes to your content?
OW – I feel like any creative will say the key to keeping your audience engaged is to constantly defy their expectations. It’s like if I can make 1000 songs and I have released 60 on 2 albums and a mixtape all people know is 6% of what I can do, there’s still another 94% to do over time. People try to box you into what they think you are based on what you shown them, but thats on the assumption that you’ve shown your full potential. I haven’t shown people my full spectrum, I haven’t even shown them a fraction of my spectrum yet. By the time we get 10 years down the line when people try to put me in that box it won’t be as annoying because they would have had 10 years worth of music to make that decision. But to say whether I’m grime or Hip-hop now is too difficult.
FP – Hip Hop as a genre has shifted quite a lot since the 80s/90s. As these changes have happened over time a lot of newer rappers have taken a less lyrical approach and focus on easy to remember hooks and simpler rhymes. You’re known as one of the saviours of UK Hip Hop with your complex lyrics and quick flow, do you think that being a good lyricist is just as important now as it was then within the industry?
OW – Back then if you were into Hip-Hop you were of a certain plain of thinking. Think about the lack of complexity of the average person, and understand half the world is less complex than that and they’re all listening to Hip-Hip now. Now it’s like if you want to do something smart, different and forward thinking you gonna be in an even more smaller bracket than maybe 20 years ago; 20 years ago people were on that level. Whereas now people there not just people that appreciate good quality rap but there’s also people who also appreciate nursery rhymes, dead bars and so on so it’s like what market are you trying to cater to. When I was 15, the logic was just be as skillful as possible and you’ll blow up through practice and hard work. Now it’s like, you can do that Kendrick is a good example, but you can also do a Lil Pump. When you see Kendrick and Lil Pump are bringing in the same amount of money that year, that’s when you know the demand in the music scene right now is so diverse. It’s not like their trying to appeal to the next man’s demographic, it’s just about doing your own thing, trusting the process and trusting your skills.
FP – Off the top of that, whos your favourite rapper?!
OW – Ghetts. Saying that though Dizzie is definitely up their to and old Eminem, he’s my favourite US rapper. I’m also messing with a lot of American rappers at the moment though, I just like the cadence and the swing that they got going on. UK technicals Ghetts, inspiration Dizzie.
FP – Moving into the serious questions now, your shoe game. Tell us about your interest in footwear, has it always been a part of your life or has the music industry made it a part of your life?
OW – My whole wardrobe is probably the same size as this room but a different shape little bit more square. It’s all colour coordinated so goes from clothes to shoes and goes white, to black, to colours. I’ve got every block colour in all different types of crepe you can think of. For example, I would just go on Nike ID Air Force 1 across the whole colour spectrum so I have that just as a base, I got a couple Vapormax type things, some Off Whites, few Valentinos, some Burberry bits and also collabs like A Cold Wall x Nike. I got a lot of customs, I like to find artists like Justwin Customs he’s sick! He made this Air Force that look like it was on fire, he took a Bunsen burner to it and everything. The concept was to make something which as you wore got better with age. I also got all the bait designer customs like the Gucci on the top of the Air Force all that stuff. If i get a pattern in something I gotta get the pattern in everything, so I’d have the durag, matching the shoe, matching the phone case its mad!
FP – Did you ever have any music idols when you were younger you used to look up to for style inspiration?
OW – Na, you know what it was. I never really had any money to look trendy, I’ve never had any money to dress nice, never had anything like that. I only started getting into it when I was able to start affording it and even then it wasn’t till like 9 months after that because I wanted to make sure I could afford it for a good year before I would even go in the shop. When it was all comfy I went to see what all the fuss is about. I also had a girlfriend at the time who was well in fashion, she was into all that underground trendy stuff she just schooled me on everything. That’s how I got into the customs, working with designers basically all that stuff she put on me. She plugged me up with some knowledge man.
FP – Just quickly back into music, are there any artists that have caught your eye this year you’re waiting to hear more from?
OW – This is a tricky one. From the US I like Pop Smoke. In the UK, Potter Payper man.
FP – Ocean thank you for your time, before we let you go is there anything in the works you want to let people know about?
OW – It’s a bit too early to announce what exactly is coming up yet but this time next year you will have never seen a UK rapper ever with a higher work rate than me. That’s all I’m gonna say.
For fall 2019, YEEZY Introduce a complete new colour-way to the 350 V2 lineup with a fresh take on an all black colour way.
First teased earlier in the year by a series of images, the ‘Yecheil’ has been one of the most anticipated 350 V2 colour ways since its introduction.
By utilising the 350’s Primeknit upper, adidas and YEEZY have managed to create a series of multi-coloured panels woven into its Black Primeknit, creating a pixelated appearance.
For your chance to purchase from our London or Paris store, 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 have their win sent out to there PAYPAL registered address. In-store raffle winners will be required to collect their win on specific dates given to the winners. On collection, they will need to bring proof of ID.
Pour s’inscrire, vous devez remplir les conditions ci-dessus. IL NE S’AGIT PAS D’UNE INSCRIPTION EN MAGASIN. Les gagnants de la raffle en ligne recevront leur paire à l’adresse postale qu’ils ont renseigné sur leur compte PAYPAL. Les gagnants de la raffle en magasin devront venir récupérer leur paire aux dates indiquées. Pour récupérer leur paire, les gagnants devront présenter une PIÈCE D’IDENTITÉ VALIDE (Permis de conduire, carte d’identité, passeport).
Towards the back end of the year, the Nike Dunk Low silhouette has managed to gain a lot of attention with Nike’s revisit of the originally exclusive co.jp Viotech colour way.
Now, it seems the silhouette is making another appearance with the help from one of Nike most successful collaborators, Off-White’s Virgil Abloh. Since the the original Ten collection came to an end, Virgil has continued to explore Nike’s massive archive of trainers looking to add his distinct style to some of the most iconic silhouettes the swoosh has appeared on.
First shown to the public on the runway at Paris Fashion Week, the first two colour ways came in collaboration with the artist Futura which helped raise the profile of this collab even more making the Off-White x Nike Dunk become one of the most sought after sneakers in 2019.
Now coming to the end of the year, its time for them to show face, all be it without the original Futura collaboration seen on the runway. Taking three of Nikes most well known colour-ways, Virgil Abloh has added his distinct branding touches. Location and date branding appear on the medial side, whilst a dual lacing system now sits on top.
Enter the raffles below for your chance to buy IN-STORE
‘Pine Green’ CLICK HERE
‘University Red’ CLICK HERE
‘Midnight Navy’ CLICK HERE
Enter the raffles below for your chance to buy ONLINE
‘Pine Green’ CLICK HERE
‘University Red’ CLICK HERE
‘Midnight Navy’ 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 have their win sent out to their PAYPAL registered address. In-store raffle winners will be required to collect their win on specific dates given to the winners. On collection, they will need to bring proof of ID.
ONE ENTRY PER PERSON PER COLOURWAY. You MAY enter once each for all 3 colourways, you MAY enter for Online and/or In-store releases. DUPLICATES WILL NOT BE SUCCESSFUL.
Pour s’inscrire, vous devez remplir les conditions ci-dessus. IL NE S’AGIT PAS D’UNE INSCRIPTION EN MAGASIN. Les gagnants de la raffle en ligne recevront leur paire à l’adresse postale qu’ils ont renseigné sur leur compte PAYPAL. Les gagnants de la raffle en magasin devront venir récupérer leur paire aux dates indiquées. Pour récupérer leur paire, les gagnants devront présenter une PIÈCE D’IDENTITÉ VALIDE (Permis de conduire, carte d’identité, passeport).
It looks like another unknown raffle has just opened up!
Sign up closes at 10AM BST on Monday 16th December. Strictly one entry per person, multiple entries will be cancelled.
Winners will be announced Monday 16th December. The shoe will be revealed to the winners via email with instructions on how to purchase.
To enter the INSTORE mystery raffle, CLICK HERE!
Good luck!
To enter, you’re required to sign up via the above form, this WON’T be available in-store to sign up on. In-store raffle winners will be required to collect their win on specific dates given to the winners only. On collection, they will need to bring proof of ID. No proof of ID will result in you losing your win.
Pour s’inscrire, vous devez remplir les conditions ci-dessus. IL NE S’AGIT PAS D’UNE INSCRIPTION EN MAGASIN. Les gagnants de la raffle en magasin devront venir récupérer leur paire aux dates indiquées. Pour récupérer leur paire, les gagnants devront présenter une PIÈCE D’IDENTITÉ VALIDE (Permis de conduire, carte d’identité, passeport).
Having always been a staple within the YEEZY lineup, the 500 has cemented itself as one of the most go to models when it comes to releases.
So deep into fall ’19, adidas and YEEZY have reimagined the silhouette with the introduction of a high. Keeping its unique multilayered upper constructed from a mixture of cow suede and premium leather, its now been extended up to the ankle in perfect time for the winter period.
With the 500 already being known for its comfort, the 500 High keeps hold of its adiPRENE+ cushioning which with the updated materials, means you’re now ready for both summer and winter.
To enter the IN-STORE raffle, CLICK HERE!
To enter the ONLINE raffle, CLICK HERE!
To enter, you’re required to sign up via the above form, these WON’T be available in-store to sign up on. In-store raffle winners will be required to collect their win on specific dates given to the winners. On collection, they will need to bring proof of ID.
Pour s’inscrire, vous devez remplir les conditions ci-dessus. IL NE S’AGIT PAS D’UNE INSCRIPTION EN MAGASIN. Les gagnants de la raffle en magasin devront venir récupérer leur paire aux dates indiquées. Pour récupérer leur paire, les gagnants devront présenter une PIÈCE D’IDENTITÉ VALIDE (Permis de conduire, carte d’identité, passeport).
The Viotech story first takes us back to the year 2001, in a pre ‘internet-sneakerhead’ time when dial-up was king and it wasn’t as easy as it is today to track down regional exclusive releases from abroad without travelling thousands of miles.
During this time, Nike’s Japanese Division was in the process of introducing their co.jp initiative, which created colourways only available in very select locations in the country. One of these was known as the Rainbow, which launched alongside a trio pack called the ‘Ugly Duckling’ pack.
The ‘Rainbow’ was the standout model of that time – a sneaker that featured a clash of colours that all bounced off of one another. The design just worked and subsequently, it’s now seen as an icon.
To celebrate the launch of the Nike Dunk Low ‘Viotech’ we thought we would take a trip down memory lane. We interviewed longtime sneakerhead, dunk collector and OG Footpatrol friend Tom MV, one of the editors of EU Kicks.
We sat down with Tom to talk about the Nike Dunk, Co.Jp, the ‘Viotech’ and where his love for the game came from.
Launching in-store (LONDON) on Tuesday 10th December, sizes range from UK3.5 – UK12, priced at £85.
Footpatrol: Tom, thank you for having us. Before we get into it tell us a little about yourself and where you love for sneakers came from? You’ve been collecting for quite a while if I’m not mistaken.
Tom: Not at all, thank you for taking the time to visit!
It’s really interesting how everything has evolved, for me it wasn’t a conscious collector thing, I’ve just always worn sneakers. The interest mainly began with early 80’s hip hop and basketball. Like so many of my generation, NY graffiti / street culture and the music that came from it, that whole street / basketball aesthetic was a big influence. That’s when I started to really notice the shoes, it was vibrant, rebellious, addictive!
Since I was old enough to earn pocket money, I’ve been buying sneakers. They were always worn and binned. End of. Lol.
FP: By looking at what’s around us you’re no doubt a big dunk fan. What was it about that shoe that got you hooked?
Tom: I was always aware of the dunk high model, it was probably from when kids used to really geek out in microscopic detail on sports magazines, shoe adverts or record sleeves, but it was never a shoe I had actually seen for sale in the beginning. All the 80’s classic basketball highs were staple go to’s, Legend Hi’s, Air Forces, Delta AC’s, Blazers, Sky Forces, Alpha Forces, Penetrators, Vandals, but no Dunks! Then in 1991, I was fortunate enough to visit Japan, I saw Dunks, which were totally un-affordable and presented with such reverence, almost of historical importance and not meant for wear. It was a real WTH moment. It was just staggering to experience how on it they were from the beginning really. Then when they started to retro Dunks in ’98, that was pretty much it lol.
FP: The Nike Dunk these days is more associated with SB. Before SB though they were a basketball shoe right?
Tom: Pretty much. Before the era of scientific analysis of athletic performance and textile advancements for footwear, the dunk was just a fairly basic, solid leather high top. It was a simple design that offered padded ankle/lace up support, perforated toe box for ventilation, and maybe just as importantly, it was very easy to colour to represent Basketball teams. It was tough, durable and very comfortable, which ticked all the right boxes back then.
FP: Some of the most sort after pairs are actually non-SB dunks too.
Tom: There’s an endless list of really great colour ways/models, especially as Nike products where very region specific during the original re-issue phase. So, it’s not just about exclusive samples or even F&F pairs. The Dunk retro’s were a very affordable shoe, easy to wear, everyday comforts.
So to find a good GR release say from Foot Action or JD Sports, that might have been once widely available, in new condition now is not an easy task at all. Pre-instagram, buying/collecting habits were somewhat different.
That’s what’s great about Dunks, their rarity isn’t always about market value.
FP: Tell us about some of your favourite pairs?
Tom: How much time have we got? Lol. Out of pairs I owned I just really like all of the 1998/00’ OG retros with the padded nylon tongues. I’m less of a stickler for production details nowadays, but those were really good, they were period correct, and the silhouette, leather and build quality was peak for a GR. I don’t think I’ve seen a bad pair of those at all, applying to any region / retailer release. The first Stussy Dunk High duo were a highlight of that era also. Stussy really delivered. Those were untouchable.
Non retail, the Deftones High. Massive, massive fan of the band, and obviously this pair is never going to happen again. I had my chance once and I slept. No Regrets haha.
FP: Now we are here to talk about a specific pair, that pair being Nikes 2019 retro of the Nike Dunk ‘Viotech’. This shoe originally released in 2002 and was what was known as a Co.Jp release. Is there any light you can shed on what Co.Jp means? We don’t hear that very often these days in the sneaker world.
Tom: There’s definitely a lot of mystery surrounding this, but from what I understood, it was simply a separate operation that was exclusive to the Japan region with very different consumer demands at the time. Just as there were Nike US and Euro specific releases that catered to their own unique, domestic markets. The Japanese consumers are incredibly well read, obsessively detail orientated and understand product very deeply and very well. As a result, Nike Concept Japan experimented and thrived with this relationship, elevating product and applying at first, subtle changes and colour way nuances that pushed away from sports function and paved the way for sportswear crossing into urban lifestyle/streetwear. It gained notoriety being only available in Japan undoubtedly, and Niketalk was THE place where connects were made to get this product lol. If I remember correctly Nike Co.JP was also the url for Nike online in Japan during this time.
FP: The original pair which was actually called the ‘Rainbow’ and now fetches a decent amount in the after market. What was it about about it being a Co.Jp that made it so sought after? Do you think the regional exclusivity aspect played a big part?
Tom: Yes to all of the above.
You have to remember during this time, it was pre Nike SB, and wild, exceptional colour ways on Dunks had not happened yet, I remember Dunks for the most part were mainly 2 coloured, based on the OG colour blocking on the ‘Be True’ college styles. As iterations of those colour ways reached their zenith in both high and low formats, adding a third colour on Dunks was a really big deal. I remember the Foot Action Dunk High Carolina’s causing meltdowns lol. The Rainbow suede’s were uniquely different, very colourful, and it was perfectly timed as it was what all the Dunk collectors were waiting for.
FP: Were there any other notable Co.Jp pairs that were released before the SB days began? I noticed in your collection you have a few pairs.
Tom: All the Japan Dunks were really unique, they released really good colour combinations like in their City Attack series which saw them also drop matching pairs in their reverse colour way. They came in colours like metallic black/purples, tonal greys, muted blues etc. They really took colour ways to a new level of sophistication.
FP: Now bearing in mind that these pairs you’ve mentioned were exclusive in Japan, how were you able to get you hands on any?
Tom: I often bought on travels and I had friends who would pick them up on their travels also. You could find them months sometimes years after release in sneaker stores and even though they were probably resold in these stores, they were often to be found for not too much above retail. Hong Kong/Asia was particularly good for having a lot of great Japanese Import sneaker stores, picking up pairs then for £60 or thereabouts.
FP: Without things like Instagram, Facebook pages and other social channels it must of been hard find a plug overseas to help out?
Tom: I’m very lucky I have family and friends out in Asia, who helped along the way and then there was also Niketalk. That was about it I think. Lifelong friends came out of that little forum.
FP: Bringing it back to the ‘Viotech’, what does it take to make a good retro?
Tom: It’s un-reasonable to expect exact period correct reproductions now with changing textiles and manufacturing supply challenges, but a well made shoe, is a well made shoe. If the materials are of good quality and build /execution is strong, I’d be happy enough with that. It’s more important for me to be able to buy and wear a long out of production sneaker classic, even if it is slightly different. And If you are buying it for the 1sttime, that for me is plenty enough.
FP: Are there any features on this release that you’re happy to see?
Tom: I don’t have the 2002 versions anymore, but I remember them getting all floppy and soft after a few wears, even though the suede was good, it didn’t hold shape too well. The 2019 looks solid and the colours seem very close to the original. If they hold their shape better then that’s got to be a huge plus! Maybe a retro box would be great, just for added nostalgia / emotional trauma lol.
FP: Well Tom, thank you again for having us you’ve dropped some crazy knowledge, before we go is there anything you want to say or shoutout?
Tom: Shouts definitely go to my Mrs & girls at home who put up with all this obsessive madness. And of course FP, where some of my favourite Dunk pairs go way back to the St. Anne’s Court store, so to be asked to discuss them here today has been a real honour and highlight.
Thanking you and all at Team FP for having me!
