Author: sam
Following on from the launch of the 990VS1 we continue our story with the House of St.Barnabas. This time with CEO Rosie Ferguson wearing the 990VS2.
We spoke with Rosie to find out more about what brought her to join this hugely important mission that the Soho based charity is so set out to achieve.
Over the years the 990 has stood the ultimate test of time and changes in trend, whilst maintaining its permanent place within the sneaker market. The House of St.Barnabas follows that same journey. Having had the building erected in the 1700s. The build has hardly changed but simply modified within its interior, similarly to the way the 990 has been updated to keep it current and fresh to its community members.
Rosie joined the House in 2019. Since arriving, she has made it her mission to break the cycle of homelessness in order to give everyone an equal and fair opportunity to make their own mark in the world. Read below to find out more about Rosie’s Journey.
If you would like to support the House of St.Barnabas, or even become a member. Click HERE
The New Balance 990VS2 will be launching on Friday 16th July, sizes range from UK4.5 – UK12.5, priced at £200.
Footpatrol Meet: Rosie Ferguson CEO of HOSB
How did your journey begin with HOSB?
I came to the house in the summer of 2019. I’d been Chief Exec at 2 other organisations before, one working with young people and the other working with single parents. In both of those groups it’s about communities that feel that they have been written off by society, but in reality they have so much still to give! I felt the same about the clients that worked in the House, it was the same feeling of being written off from the world but still had so much left to give.
Was there a specific reason behind wanting to work for HOSB?
Everything about the House is fantastic! For me, there are so many services for people that have experienced homelessness are really clinical and institutional. When a participant walks into the House, no matter their experiences. They have the opportunity to feel dignity and a right to be here. It’s such a special building and everyone should have the right to feel like they belong somewhere which is welcoming, special, inclusive and where they can show their pride in being the best they can be. That’s what it’s all about at the House of St.Barnabas.
Could you tell us in a bit more depth what your role is within the House?
I am the Chief Executive here. My role is to make sure that we bring the whole House together to maximise the difference we can make for people. We have a members club, programs to support people that are experiencing homelessness and help them get work. For me, it works best when the whole community really fuels that impact in terms of supporting those individuals. Making sure that our voice and influence aren’t just heard by those who need the support, but also by those who can help us break the cycle of homelessness on a bigger scale. My role really is about maximising the difference we can make and making sure that this is a fun, brilliant and inclusive place for anyone that visits.
What about the involvement with members. Could you tell us a bit about that?
Our members actually have the opportunity to be mentors if they want to, we even do call outs to members for jobs for some of our graduates when they have a specific interest. For example, something like landscaping. We would look to see if anyone knows any landscapers who can bring them in. We love it when we can get out members to talk about the House and bring other members along to share that story. There are also events and other ativations that we host here for members to come along.
I can imagine the members enjoy that quite a lot!
Yeah absolutely! We also love those members who just want to come here for fun. However people want to be a part of the community they are always welcome here. There is a really nice mix of people who come to enjoy themselves, as well as engage with what we do.
What makes the HOSB mission so important?
It’s all about breaking the cycle of homelessness for people in the long term. It’s not about getting people to a place where they are in a hostel and they are struggling or have a job but are low paid. We want to get people to a point that they have a secure home, a job that pays a decent salary that gives them the confidence and the lifestyle they want. On top of that we have a network of a community here that is there to support them and that’s what genuinely stops people from being at risk of homelessness, rather than giving them the minimum where they still feel a bit fragile. That’s what makes the House of St.Barnabas so exciting is that we are really there for people to be the best selves they can be and stick with them until their lives are in place rather than just ticking a box because they have a job or home.
If there was one thing you would say to people to help further encourage their support what would it be?
Please become a member! Come along to an event, look at the website we are available for parties and for hire. We are here to break the cycle of homelessness, but the way we do that is by one cocktail at a time. We want people to come and enjoy themselves and make a difference while they are doing it.
Footpatrol is located in the musical hub of Central London. Surrounded by a number of renowned record shops all in which have played an integral part of music culture in the UK.
Int’l Record store day is a celebration that we love to get behind at Footpatrol. Whether it’s supporting our local Record stores, hosting events or working with both emerging and established talent, Int’l Record Store day is an important celebration of music that reminds us of how it once was all before the time of the digital switch over.
For this year’s celebrations we wanted to do something a bit more special. We were introduced to two talented co-workers that have both been making moves within the music scene. We linked up with DJ/Producer Earl Jeffers and the artistically creative graphic designer, Ral Duke. Making his waves in House music Earl has been known for bringing the life of the party to the party with his extensive selection of tracks he brings to his mixes. Ral Duke on the other hand, has been producing album artworks for artists such as Westside Gunn & Grizelda Records and Ghostface (to name a few), making his mark in the industry with his creatively put motifs and graphics.
We had Earl Jeffers and Ral Duke do what they do best and produce for us a two-piece collection featuring a hoodie and tee with graphics designed and pieced together by Ral Duke. To add the cherry on top we didn’t want to stop there, to coincide with the launch of his project HIGHER EP, Earl Jeffers has kindly supplied us with some vinyl copies of his latest release to give away free with any purchase made from this Record Store Day collection. So don’t sleep on this drop because you aren’t going to want to miss out..!
The “HIGHER” capsule will launch in-store exclusively at Footpatrol London & online (available online from 8:00AM) on Saturday 17th July to coincide with Drop 2 of Int’l Record Store Day. Sizes range from S- XXL with prices between £35 – £55. All in-store purchases of the apparel will include a free copy of the “HIGHER” EP Vinyl (available whilst stocks last).
To read out interview with Earl Jeffers and Ral Duke click HERE.
With Record Store Day fast approaching we wanted to stay true to the vinyl and work alongside London based DJ Chris Read to put together a mix for the Frequent Player channel.
Chris is no stranger when it comes to DJing, producing and collecting records having done so for a long while, having more than 50 Mixcloud Specialists Genre Chart #1s to his name!
We sat down to talk about all things music and Chris’s journey so far. We also gave Chris some money to spend in some of soho’s most infamous record stores with the task to create a special guest mix with only what he could find and purchase on the day!
Read our interview with Chris about the challenge we set him and his career to date below.
Chris welcome back! It’s been a long time since we worked together and since then you’ve been super busy by the looks of things, how have you been?
Yeah I’ve been good! Working on lots of different stuff. I think it’s been like 5/6 years since the last collaboration we did.
Well for our newer readers and listeners who may not have heard you DJ could you give us a quick breakdown on how you got to where you are now?
I have been DJing since my teens, got into it more seriously when I was in college, running club nights and DJing. That’s kind of where it all started for me. I was already a collector of music and I just wanted to do something creative with that. I always bought records, so DJing seemed like a natural place to go with it. When we started running club nights it was out of necessity really. There weren’t places playing the music that I wanted to hear, so we started doing nights, like most people I guess, for our friends to come. It grew very very quickly from there!
Over time I got involved in loads of other aspects of music, producing music and then eventually working in music. Now my job is all music related stuff!
So music music music!
Haha yeah exactly!
There are some DJs out there that didn’t collect records prior to DJing.
For me the records came first – I just really loved music and at the time I started DJing having records was the only way to have the music. I grew up on the outskirts of London so I was within striking distance of hearing good music on the radio, but really it was either recording music off the radio or buying the records – that was how I acquired new music from very early on. But having records almost created a desire to want to do something creative with them. Like – now I’ve got them, let me do something with them. Djing just seemed the obvious choice.
In terms of collecting records would you say that vinyl is better than everything else when it comes to quality?
Nah, I’m not a snob about the format at all really. I mean I love records and I wouldn’t have them all here if I didn’t but for a long time I didn’t really view it as a thing to collect them – it was a necessity. If you wanted to DJ at the weekend, then you needed new records so you’d spend every weekend going to record stores and listening to stuff or digging for old stuff. At some point that became a collection. Now a lot of the new music that comes out I listen to and consume digitally, but I still get that same buzz especially with the older stuff! It’s almost like stamp collecting, there’s records from certain artists or labels and you just want to have them all!
It’s a similar outlook that sneaker enthusiasts would have, we would buy a pair of shoes because of the connection we would have with that brand.
Yeah exactly – you have a relationship with the brand as you would with an artist or a record label. There’s some bits of the collection where it’s like, yeah I got everything from a certain label or artist, but not every single one of those records is good, but something in me wants to have them all!
You also produce as well! I’m a big fan of your album – Colo (U) Rs of the World with Pugs Atomz. Did this path come before or after the start of your DJing career?
If I’m being totally honest with you, I think the idea of producing music was part of the initial attraction of DJing for me. I was really just a kid when I got my first pair of second hand turntables and at that time, I think the distinction between what DJing was and what a producer in say a rap group was, was a pretty blurred concept in my mind. I didn’t see a clear distinction between the two. I guess my main influence of doing it was wanting to make music as much as playing it initially, but it wasn’t until a lot later that I actually got into producing. A few of us had been running a club night for a while and a lot of people were coming to it and it was making a bit of noise and off the back of that we were getting booked to play at other places. A local label pretty much just said to us, do you want to make a record? At this point I’d have never made a record before and I didn’t really know much about production. They were kind enough to spend time with us in the studio and give us that opportunity. That was a record label called ‘Different Drummer’ by the way!
After that I got really into it, spent a lot of time at home learning to produce and made a couple of records. It became more like a hobby for a while after that, but then some years passed and I’d been quietly making music and teaching myself more and then I began to take it a lot more seriously and have been making records regularly ever since.
That’s insane that you were just given that opportunity and thrown into the deep, almost forcing yourself to have to learn it.
Yeah I mean I don’t think it would happen now. There are so many amazing producers at home making music at the moment. So to give someone that opportunity who doesn’t really know anything about producing on the strength of their DJing wouldn’t really happen anymore. But at the time, there were records like Deep Concentration that were really made as much by DJs as they were by producers – I think that’s what the label had in mind when they approached us.
Last project you did with us was the Classic Material T-shirt launch which was sick! This time round we are here for Record Store day, we looked through some crazy vinyl down in Soho. Could you tell us a bit about the ones that you picked out?
Spending the day going record shopping is always pretty fun, but with the thought in the back of my mind the whole time was knowing I had to make a mix out of whatever I picked up was kind of daunting haha! I wouldn’t necessarily say it was stressful, but I was conscious of the fact that I was buying these records to try and make something out of them.
I did tick a few things off the wants list: Sir IBU’s, ‘I’m the Peacemaker’, a classic late 80s rap thing which you don’t see too often, some more obvious ones to fill a couple of gaps in the collection – Ultramagnetic MCs, Big L.
I also picked up some Jazz, Funk and Soul bits too: Milton Wright’s ‘Spaced’ Album, 80s Ladies which is a Roy Ayers produced thing, a favourite of mine, and some Last Poets.
Some might call it cheating, but for safety’s sake I also picked up a couple of Soul compilations, just to make sure there was enough stuff in the bag to make a mix out of.
I got some new things too: Kamaal Williams | big fan of their stuff
It probably won’t make it into the mix, but I also did a bit of lucky dip on some other Jazz records I wasn’t familiar with. One of the stores had a 3 for tenner section on cheap jazz. Some of the artists on those records, Jayson Lindh and Lee Konitz, I’ve sampled before, so I’m hoping there will be something usable there.
Being a big hip hop head, would you say you have a favourite MC?
I wouldn’t say I have a favourite, I could probably do a top 5 if I was forced to. Everyone gives Rakim, Kane etc a shout on those lists and for good reason, but I would have to have a couple of artists like Chubb Rock in there – I always thought he had a great voice, witty and had a positive message in what he said allround. Others like maybe Special Ed. There was just a lot of charisma in those early 90s records.
Well Chris thank you again for spending some time with us, we are all looking forward to hearing your mix! Before we let you go, is there anything you want to get the Footpatrol and Frequent Players family excited about?
Yeah, so I got quite a few records coming. Lockdown has been a bit of a weird one with labels slowing down a bit and record shops were not open either so I made the decision to hold back on some stuff.
All being well, the bits I have been working on should be coming out before the end of the year. There’s another Suburban Architecture EP coming in October which I co-produced, a 7” with a rapper called Simba from Mozambique and that’s a collaboration with Kardinal Offishal, a second volume of Library Archive which is a compilation which I did with Mr. Thing and a handful of remixes coming too – stuff with Inkswel featuring Steve Spacek, Planetself with John Robinson and a couple more. There’s another Digging the Vaults 10” coming too with KPM which has been in the pipeline a while now. So quite a lot in the bag which will hopefully see the light of day before Christmas if not soon after!
Thank you Chris!
We would also like to say a special thank you to PUMA and our Soho Neighbours: Reckless Records, Phonica and Sister Ray for allowing us to photograph in-store.
#TEAMFP
For the launch of the adidas city series ‘Paris’, we met with local Parisian vintage enthusiast Pipaul. Pipaul has worked across industries like fashion, then into the music industry before returning to his true first love, vintage.
We sat down with Pipau to talk about shoes, music, his life and how he has seen his love and passion evolve over the years in Paris.
Originally making its way into the adidas ranks in 1978 the adidas Paris comes dressed in a soft supple leather in the French red, white and blue colours sat on top of a low profile non slip sole unit.
Launching in-store in London and paris and online on Friday 28th august (available online from 8AM GMT). Sizes range from UK6 – UK12, priced at £75 / €100.
Hi Pipaul, thank you for being with us today. Can you introduce yourself?
Hi everyone, my name is Pipaul, I am 57 years old and I’ve been working for a vintage store for quite a while now called Hippy Market.
Can you tell us about your background?
Before vintage I worked in clothing, I worked for Diesel for 7 years, I was in charge of communication and brand image for France. I stopped working in fashion and worked in nightlife. I was a promoter and organizer of Hip-Hop parties in an elite place that still exists today, Les Bains, Paris. We did that for ten years with all the groups like Double H, Cut Killer, DJ Abdel and DJ LBR. What was good about that time was that it was easy to book artists, in particular US artists. Thanks to the notoriety of these parties we had the opportunity to organize showcases of big US artists like Jay-Z, Puff Daddy, Destiny Childs and we even had the Sugarhill Gang, when they came and it was something extraordinary. It’s a period that went from 1993 to the early 2000s. At that time, hip hop was considered a bit of a “gangsta” movement, so with the parties that we did we brought these guys back to different circles in Paris.
What do you think of hip-hop in the nightclub industry today ?
Hip hop is completely out of the sphere today. In all the clubs there is hip hop now. Even those who don’t like it listen. Hip hop has become “popular” music somewhere, even though there are sounds that are more “underground” than others, it has become popular. As there was a phenomenon of Disco and Funk, there is that of hip hop today.
Today all the rappers who come to Paris will come to do a showcase at the Bain Paris and that’s great! Back then it was hard to get booked into a club when you were a rapper, that’s not the case at all today.
So do you follow what’s going on in the music world and the nightlife right now?
No. I’m past the age. I have turned the page, we have to make room for young people! I’m over the nightlife now. I still have my little sin, it’s vintage fashion. This is my first love!
How did you go from high end fashion, to nightlife, to vintage?
It’s all compatible. In the evenings, you need to look good. So, you have to go get some clothes, even sport fits.
So where does your passion for vintage come from?
I have always been close to true values from brands. That is, when I was younger, there was disco, and I liked the “Jerk”. My parents have always listened to old music. It’s a culture in itself. When I was just a kid, I used to see my dad dress and I thought he looked sick! These days I dress like him when he was young, I have this taste to go against the grain of what’s being done.
And what do you think of this comeback of Vintage today?
Honestly, what we see today is not vintage. I mean, It’s vintage for a certain class of people. You have to tell yourself that Vintage is “20 years old”. Every 20 years the garment becomes vintage. I prefer the “antique”. Vintage now kids wear 80s-90s stuff. I wore these clothes back then. I prefer to wear things that I have never been able to wear, like the 20’s, 30’s, 40’s, 50’s, 60’s. That’s what attracts me, all this cinematic aspect, it’s something that marked me in my youth.
How do you wear these clothes nowadays?
We must re-adjust. You can’t wear 1920’s clothes like that for example. I can wear elephant leg jeans but not like in the 70s. I’m going to adapt it so it’s not too extravagant. I’m looking for the classic’s of that time, but not the eccentric side. Someone who crosses my path may find me eccentric because of bling bling and all but deep down inside it’s very simple. I try to cultivate the difference.
What about sneakers in all of this?
I am in awe of sneakers today. It’s not in my culture and I accept it because I have this fashion sensibility. I understand the trick and at the same time no. In the sense that in my day basketball shoes were for playing sports, but nothing prevents me from wearing sneakers today. I can wear a nice suit and a pair of sneakers, I can understand that. I saw the rappers back in the day with great Jordan sneakers and suits, I find that extraordinary. They made a difference to the basic, classic side. They brought something to fashion, sneakers brought something very important to fashion and has its place in this environment. You can be a star, dressed and wear a pair of sneakers. Before we didn’t even want people to come into a club in sneakers and now it’s completely normal.
So have you experienced this sneakers transition from sport to lifestyle?
It was an amazing thing. It’s like hip hop when it started, nobody believed it. This development is part of the evolution of fashion and people. Look at how people are dressed on the streets now. Sometimes you wonder how he thought about it, how they decided to put that together the way they did. Basketball was the same mechanism of evolution. I see my daughter who is 18 years old wearing sneakers with a dress. I say to myself “yes this is class, I love that”, I love to see that, this evolution interests me a lot. That’s also great too because it brings sneakers to the cities. Basketball made a real difference and that’s what I love, I’m all for it. Now everything you see in the suburbs you see in the 16th (rich Paris neighborhood).
Thanks for speaking with us Pipaul !
A l’occasion de notre shooting adidas City Series Paris, nous avons rencontré Pipaul. Pipaul a travaillé dans le monde de la mode, puis celui de la nuit avant de revenir à son véritable premier amour, le vintage. Retrouvez son interview ci-dessous.
Bonjour Pipaul, merci d’être avec nous aujourd’hui. Est-ce que tu peux te présenter ?
Salut à tous, je m’appelle Pipaul, j’ai 57 ans. Je travaille pour un groupe de vintage depuis pas mal de temps maintenant, Hippy Market.
Tu peux nous parler de ton parcours ?
Avant le vintage, j’ai travaillé dans le vêtement. J’ai travaillé pendant 7 ans chez Diesel, je m’occupais de la communication et de l’image de la marque en France. Et après ça, j’ai arrêté les vêtements et j’ai travaillé dans le monde de la nuit. J’étais promoteur et organisateur de soirées Hip Hop dans un endroit d’élite qui existe toujours aujourd’hui, Les Bains Paris. On a fait ça pendant une dizaine d’années avec tous les groupes genre Double H, Cut Killer, DJ Abdel, DJ LBR. Ce qui était bien à cette époque c’est que c’était facile de booker des artistes. Notamment des artistes US. Grâce à la notoriété de ces soirées, on avait la possibilité d’avoir des showcases de gros artistes US comme Jay-Z, Puff Daddy, Destiny’s Child. On a même eu les Sugarhill Gang, les vieux de la vieille. Ils sont venus et c’était quelque chose d’extraordinaire. C’est une période qui allait de 1993 au début des années 2000. A cette époque, le hip hop était considéré comme un mouvement un peu « gangsta », nous avec les soirées qu’on faisait, on a ramené ces gars dans des milieux « d’élites » à paris.
Et ton regard sur le hip hop aujourd’hui ?
Le hip hop est complètement sortie de cette sphère-là aujourd’hui. Dans tous les clubs, il y a du Hip Hop maintenant. Même ceux qui n’aiment pas ça en écoute. Le hip hop est devenu quelque part une musique « populaire », même s’il y a des sons qui sont plus « underground » que d’autres, c’est devenu populaire. Comme il y a eu un phénomène de Disco, de Funk, il y a celui du hip hop aujourd’hui.
Aujourd’hui, tous les rappeurs qui passent à Paris vont venir faire un showcase au Bain Paris et ça ne pose aucun problème. A l’époque, c’était difficile de se faire booker dans un club quand t’étais un rappeur. Et ce n’est plus du tout le cas aujourd’hui.
Du coup tu suis un peu ce qu’il se passe encore dans le monde de la musique et de la nuit en ce moment ?
Non. J’ai passé l’âge. J’ai tourné la page, il faut laisser la place aux jeunes ! Je ne suis plus trop dans la nuit. J’ai toujours mon petit pêché, c’est la mode, le vintage. C’est mon premier amour.
Justement ! Comment tu es passé de la mode, à la nuit, au Vintage ?
C’est que tout ça est compatible. Dans le monde de la nuit, t’as besoin de te faire beau. Donc t’es obligé d’aller chercher des vêtements. Même le sport rentre là-dedans.
Mais alors d’où te vient cette passion du vintage ?
J’ai toujours été proche des vraies valeurs. C’est-à-dire que quand j’étais plus jeune, il y avait le disco et moi, je kiffais le « Jerk ». J’ai toujours été en décalage. Mes parents ont toujours écouté de la vielle musique. C’est une culture. Quand j’étais petit, je voyais mon père s’habiller et je kiffais comment il s’habillait. J’avais plus envie de m’habiller comme mon père. Aujourd’hui, je m’habille comme lui quand il était jeune. J’ai ce goût d’aller à contre-courant de ce qui se fait.
Et que penses-tu de ce retour du Vintage aujourd’hui ?
Honnêtement, ce qu’on voit aujourd’hui ce n’est pas du vintage. C’est du vintage pour une certaine catégorie de gens. Il faut se dire que Vintage c’est « 20 ans d’âge ». Tous les 20 ans, le vêtement deviens vintage. Moi je préfère l’antique. Le vintage aujourd’hui : les gamins, ils portent des trucs des années 80-90. Moi, je les ai portés ces vêtements à l’époque. Moi je préfère porter des trucs que je n’ai jamais pu porter, comme les années 20,30,40,50,60. C’est ça qui m’attire, tout ce côté cinématographique, c’est quelque chose qui m’a marqué dans ma jeunesse.
De quelle façon tu portes donc ces vêtements ?
Il faut réajuster. Tu ne peux pas porter des vêtements des années 20 comme ça par exemple. Je peux porter des pattes d’eph mais pas comme dans les années 70. Je vais l’adapter pour pas que ce soit trop extravagant. Je suis à la recherche du classique de l’époque, mais pas du côté excentrique. Quelqu’un qui me croise peut me trouver excentrique parce que « bling bling » et tout, mais au fond de moi, c’est très simple. J’essaye de cultiver la différence.
Et la basket dans tout ça ?
Moi aujourd’hui, je suis dans l’admiration de la basket. Ce n’est pas dans ma culture et j’accepte parce que j’ai cette sensibilité mode. Je comprends le truc et en même temps non. Dans le sens où moi à mon époque, la basket c’était pour faire du sport. Mais rien ne m’empêche de porter des baskets aujourd’hui. Je peux porter un beau costume et une paire de basket, je peux comprendre ça. J’ai vu les rappeurs à l’époque avec des supers paires de Jordan et des costumes, je trouve ça extraordinaire. Ils ont apporté une différence au côté basique, classique. Ils ont apporté quelque chose dans la mode, la basket a apporté quelque chose de très important dans la mode et a sa place dans ce milieu. Tu peux être une star, bien sappée et tout et porter une paire de basket. Avant on ne voulait même pas que les gens entrent en club en basket et maintenant c’est complètement normal.
Donc toi, tu as vécu ce passage de la basket du sport au lifestyle ?
C’était un truc extraordinaire. C’est comme le hip hop quand ça a commencé, personne n’y croyait. Cette évolution fait partie de l’évolution de la mode et des gens. Regarde comment les gens s’habillent dans la rue maintenant. Des fois, tu te demandes comment il a pensé à ça, comment il a fait. La basket c’était le même mécanisme d’évolution. Je vois ma fille qui a 18 ans qui porte des baskets avec une robe, je me dis « yes c’est classe, je kiffe ça », je kiffe voir ça, cette évolution m’intéresse beaucoup. Et c’est top aussi parce que ça amène les baskets dans les villes. La basket a apporté une vraie différence et c’est ça que j’adore, je suis complètement pour. Aujourd’hui, tous les bobos portent des baskets. Maintenant, tout ce que tu vois en banlieue, tu le vois dans le 16ème.
Merci de nous avoir parlé!
Introducing the adidas Originals Consortium 4D x Footpatrol. Born from Light.
CONSORTIUM4D is a concept shaped by light, liquid and oxygen. Combining the worlds of the natural and the technological to birth a shoe unlike any other. Featuring the world’s first high performance midsole crafted with light, liquid and oxygen. Its single component design is precisely tuned for controlled energy return, providing lasting cushioning and stability for any activity. Pioneered by carbon this breakthrough 3D printing process transforms liquids into solids.
The adidas Consortium 4D / Footpatrol shoe draws inspiration from the theory of colour harmony. Using the colour wheel as a guide during the design process, we selected an array of tertiary and secondary shades of green that blends harmoniously in a knit construction. The three-stripe Adidas branding features on both the medial and lateral panels of the shoe, screen printed in White on the medial and Black on the opposing lateral. Embroidered thread is stitch in a block form overlapping the knitted upper and synthetic suede heel counter. The Footpatrol Gasmark logo is situated on the embroidered Consortium label loop and heel of the footbed. The shoe is completed using a Continental rubber outsole for added traction.
To release this project we have partnered with London Design Festival and artist Ben Cullen Williams to bring you an immersive journey through Futurecraft innovation.
Ben Cullen Williams is a London based visual artist. His work consists of installations, sculptures, photographs and films that aim to create an engagement with the phenomenological elements of the world around us – light, space, material and form. His work draws on a range of fabrication processes from physical to digital to understand our changing relationship to the world in an increasingly digitalised environment.
The exhibition will be hosted during LDF at 15 Bateman Street, Soho. The exhibit will be open to the public on Friday 21st – Saturday 22nd September.
The Footpatrol Consortium 4D is now SOLD OUT.
