Author: Tom
Released in 1986, the 2nd retro within the Air Jordan lineage was designed by Peter Moore – who previously designed its predecessor – and Bruce Kilgore, designer of the iconic Air Force 1.
It was the first Air Jordan silhouette without the Swoosh and was also the first sneaker to combine luxury detailing to peak sport performance. Made in Italy, the AJII featured a faux Lizard skin alongside premium leather.
Over the years, the AJII has seen a handful of retros and collaborations such as the AJII x Don C from 2015 and Vashtie Kola, who was the first woman to collaborate on an Air Jordan.
In 2021, consumers see Virgil Abloh to the fore once again on the Air Jordan models. With choosing the AJII, Abloh’s inspiration was paying homage to the heritage and impact of the silhouette. By asking the question of how an Air Jordan II would look like pulled directly from a time capsule? So, for the first time in Nike’s history, a sneaker was reverse-engineered from an original pair in the DNA Archive using three-dimensional scans of an exact pair MJ had laced up. The design process yielded unique results: because no two sneakers crumble the same way, the left and right pair of each Air Jordan 2 x Off-White™ has a different cracked midsole for accurate representation.
2 pairs created side by side, one dons the original colours of white/red whilst the other is of a black/royal contrast. White leather with red detailing along the upper, heel and Wings logo on the tongue. The midsole features a sail hue while the standout feature is of the crumbling aesthetic to give off the archival look. The black pair is predominately of a monochrome dressing with royal hits on the tongue, heel, upper and laces. Signature Off-White™ branding on the medial side as well as a yellow cable tie. Lastly, also including the crumbling design on the midsole for the aged look.
The ONLINE draw (INC apparel) is live over on the Footpatrol Launches App, CLICK HERE to download!
To sign up to the Online draw, you will need to download the Footpatrol Launches app and complete a pre-authorisation payment of the retail price of the product plus shipping costs. This will be held until completion of the draw. Those successful will have their win posted out to the address entered during sign up. Those unsuccessful will see a return of their funds, this can take up to 5 working days from when the winners have been drawn.
Amsterdam’s very own Patta and Nike have produced some of the most memorable and sought after projects, spanning almost 20 years. In particular, the Air Max 1 silhouette holds dear to consumers hearts. With releases like the 5 year Anniversary releases as well as 3-way collaborative efforts with Parra for the AM1 ‘Cherrywood’, these versions of the iconic Air Max 1 have created waves amongst sneaker culture.
Recently, the release of the AM1 ‘Monarch’ was an ode to the authentic connection between Patta and the Air Max community. Around Europe and Amsterdam in particular, the one that started it all was the model that stuck and worn by almost everybody.
Like the 1st release of ‘The Wave’, the 2nd instalment of the collaboration draws similar aesthetics to the original Air Max 1 with its colour-blocking but also with an added twist. Re-working the mudguard, Patta have fine-tuned the simplicity of design to create a wave pattern. As opposed to its warm counterpart in, this version is dressed in a cool blue tinted nubuck, neutral ‘Pure Platinum’ is used on the mesh adjacent, while white takes on the upper panelling, a sail hue makes up the midsole for an aged look, respectively. To cap it off, a mini Swoosh on the is almost synonymous to a Patta x Nike collaboration.
Like the rollout of its predecessor, Patta and Nike have curated a short four-part film called ‘Wave Not Cycles’ following siblings Abdul and Carista as they ride the ever-changing seas of life. The film and collaboration is a thematic reference to the cultural shifts and enduring influence that Patta has had on its greater community and industry. This is Part 2 of the four-part film titled ‘Loud + Clear’.
PLEASE TAKE TIME TO READ THE BELOW!
The LONDON IN-STORE draw is now closed!
To enter, you’re required to sign up via the above forms, these WON’T be available in-store to sign up on.
In-store winners will be contacted via email informing them of their win. Within this email, winners will be given a set of dates in which they must collect their win from our London store. To collect, you will need to provide the winning email and a valid photographic government ID matching the winners name. NO ONE can collect on the winners behalf. Failure to provide this, or failure to collect within the given dates will mean failure to purchase your win.
Following on from the launch of its predecessors, we continue our story with the House of St.Barnabas. For the release of the 990VS3, we showcased the silhouette on HOSB porter John Smallshaw.
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 building 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.
We caught up with John to find out more about his journey and how the House of St Barnabas as helped him.
The New Balance 990 v3 will be launching in-store and online on Friday 5th November, sizes range from UK6 – UK12, priced at £200.
Footpatrol: Could you tell us in a bit more depth what your role is within the House?
John Smallshaw: My role in the house… Well, I’m employed by them as a kitchen porter and have been here for around 10 years now. Have I progressed? Well, I have had the opportunity to become a chef, but I am quite happy doing what I do as there are other aspects that I get involved in. Like creative writing as part of the group we have upstairs, poetry nights; I need my free time. So, this is what I do: I wash dishes and keep the kitchen clean. I am getting older now and things are slowing down. My wife says I’m not, but that’s my wife! I love being here, I love the house (House of St. Barnabas). I think the house has made the biggest impact in my life, changed my life and it saved my life. If I ever owed them anything they have never said that. I always felt I owed them that of course, otherwise I would have been pushing up daisies if it wasn’t for the house and the people associated with it. It’s a family and being away from my own, which I have been for a long time. This was a family that became my family. That’s not just the people that work here now, but all the people that worked here. Like Charles Dickens! You can almost feel him coming out of the walls, there is a magic that seeps into your bones. I am not the only person that says that.
FP: How did your journey begin with HOSB?
John Smallshaw: Well, I left home when I was 15, a runaway. I come from a long line or long lines in the north of England. Bread lines, labour exchange office lines. I went to work on the docks in Newhaven as a 15-year-old as a casual stevedore for £5 a day, which doesn’t sound much but my weekly rent was £5 a week for bed, breakfast, and an evening meal. I then gravitated over to London and very soon got involved in the drug scene which was and still is unfortunately still rife in London. From pills, heroin, crack cocaine, anything in MIMs that would give me a high. I always used to carry a copy of MIMs in my pocket to find out what would do what. I watched people I knew die off. I was really lucky not to do the same.
About 12 years ago, one of the last guys from the time period I’m talking about got terminal cancer. We were both junkies, it didn’t stop us from taking drugs still. I sat with him in his house and his daughter would come round and his grandchildren, his wife had sadly passed. One day I looked at him and I was quite jealous as he was on morphine. This was the life of a drug addict. I just looked at him and thought you’re going to die, and it was a purely selfish thing because that’s how drug addicts can be, selfish people. I went out that night back to my hostel and I never went back. I had a lovely flat in this hostel, warm heating and £16 a week subsidised by the council. I locked myself in my room for about 3 or 4 weeks, coming out every time I got a gyro to get some of the brown to make me feel normal for the day. Then one day, I went down to where I used to buy the stuff and the supermarket at the bottom of the road was selling sugar puffs 3 for £1 and I loved them! When I came out, I realised I didn’t have enough money for the gear and that was when I ended it.
I climbed the walls for about 2 years, saw a councillor at my local doctors and gave him all my grief for years which was really lucky for me. I then did a 2-day course at Crisis, then a goal setting course for 2 days and came away quite deflated. The lady who was the mentor on the course came to see me at the hostel and asked if I would like to go to St. Barnabas. My first thoughts were ‘Ugh Religion’. I have always had a bit of down on that. To keep the job centre of my back though I thought why not give it a go. I came down and didn’t realise it was an interview, I thought they were just looking for people to fill places. I knew the building but at the time never knew what it was. When I came on this course and after about 2 days my eyes opened and I still don’t know what it was that did that. I just got the whole thing. I was 55 years old, thick as a brick or as 2 short planks as we say up north. I just began to throw myself at anything they offered.
FP: We heard that you are also a bit of spoken word talent. Do you think you could give us a short few lines relating to the House off the top of your head?
Yes, about 12,000 and counting! There is one though. I am actually currently in a play, so if you’re reading or watching this back at base. The Blue Elephant Theatre, 5th, and 6th of November. It’s a fairly cheap and good play, written by Brian Beaton who is a chap in the house. This piece comes at the end of the play. It’s about time and how we deal with time as are many of my pieces and it’s called, ‘The Constant Clock’.
The Constant Clock, by John Smallshaw.
“You can hear the tick and the tock. Can you feel them as they mock when you turn and face the face of the ever present clock.
That look of shock that’s in your eye, should not come as a surprise for, we all know that time lies with the dog that carries fleas.
If it pleases you to think that ticking time is but the link then, please yourself away.
But time is night and time is day, it’s the rock that man has built, a man’s upset when time is split and it trickles down the drain.
Time, and time again as we take time by the hand and we wander off alone into times eternal land. To the shore line at the hourglass that trickles out the sand to the ever present beat of the time. In which we meet the waters lapping at our feet. Where the tide of time will greet us as if we, an unborn fetus had no idea that times against us as we try to build a fence against the past and present tense.
But time is stone and it wears away the bone and eats at all the parts. And time still the beat of hearts and the tears of time will tell if this is heaven or this is hell. When at the ending of the day, the bells ring out to say. Time gentlemen please! We shall get down on our knees and plead for one last chance. Just one more loving glance at the time we left behind. I am resigned to that.“
FP: If there was one thing you would say to people to help further encourage their support what would it be?
JS: As I said recently you’d have crossed the road to get away from me because I was a lost cause. I was heading for the end. There is always a turn around and really you see it yourself, you try to ignore it but just turn around and look in a different direction. There are lots of people out here to help but you do have to ask. Nobody is a mind reader.
Since 2002, the gas mask logo has been our identity all throughout the years. Featuring on many of our apparel, accessories and footwear collaborations, its become a symbol worldwide.
As a sneaker brand, we also sell our own merchandise in-store and online. So what better way to represent with a subtle yet classic design of ours in the Footpatrol Gas Mask Hero hoodie in black. The pullover garment is cut from soft, fleece-lined poly-cotton and comes stamped with Footpatrol branding to the chest and our signature Gas Mask emblem to the reverse.
Available in-store and online. Sizes range from S – XL , priced at £55.
One of the most iconic and popular Nike shoes to date, the Bruce Kilgore designed Air Force 1 took to stage in 1982 as being the first basketball shoe to feature the Nike ‘Air’ technology. Ever since then, it became a cultural phenomenon being worn on and off the courts.
With a low, mid and high cut variation, the Nike AF1 has produced an endless catalogue of colourways both in-line and collaborative projects with over 2500 iterations so far. Whilst, the AF1 is a constant sell-through for Nike, a particular time in the past was at its most peak. The late 90’s and early 00’s were where the AF1 reigned all over the world but more specifically, New York City adopted the shoe and became an icon (dubbed Uptowns by Harlem natives). Featuring in hip-hop videos, magazines and tv, it was a silhouette that many adored. This year, Nike are returning the AF1 Mid in jewel form.
With 2 iterations, the Nike Air Force 1 Mid ‘NYC editions’ come in a ‘Cool Grey’ and ‘Midnight Navy/Gum’ colour way. First off, dressed in ‘Cool Grey’ leather – almost inspired by the city itself, gives off a subtle look with white hits on the lining as well on the midsole. The Jewel Swoosh, often adored by fans is done in white also, while the NYC edition logo is located on the velcro.
Stay tuned for launch information coming soon!
The Nike ACG brand has been adored by consumers since its release in 1989, widening their scope of outdoors-oriented sneakers and apparel that was true to its name. The ‘All Conditions Gear’ is a true testament to this as over the years products have been used for trail, mountaineering, walking, running and overall lifestyle fashion.
Each year, Nike release their ACG collection for every season. For FW21 they’ve constructed a range of apparel featuring lightweight rain jackets to cargo pants and shorts. Long and short graphic tees to trail in-spired footwear such as the Nike ACG Mountain Fly which has become a popular silhouette in recent times.
At Footpatrol, we provide a range of ACG material to prepare you for the colder seasons. Apparel sizes range from S – XL and footwear from UK6 – UK14, priced between £35 – £160. Click here to shop!
Amsterdam’s very own Patta and Nike have produced some of the most memorable and sought after projects, spanning almost 20 years. In particular, the Air Max 1 silhouette holds dear to consumers hearts. With releases like the 5 year Anniversary releases as well as 3-way collaborative efforts with Parra for the AM1 ‘Cherrywood’, these versions of the iconic Air Max 1 have created waves amongst sneaker culture.
Must we not forget the collaborations in and amongst such as the AM90 ‘Homegrown’ and their take on the vintage Nike Air Span II, Patta as well as many more. However, Nike revert back to what really caught the attention of sneaker collectors and consumers, the Air Max 1.
The upcoming release of the AM1 ‘Monarch’ is an ode to the authentic connection between Patta and the Air Max community. Around Europe and Amsterdam in particular, the one that started it all was the model that stuck and worn by almost everybody.
The latest collaboration draws similar aesthetics to the original Air Max 1 with its colour-blocking but also with an added twist. Re-working the mudguard, Patta have fine-tuned the simplicity of design to create a wave pattern. Dressed in an orange tinted nubuck, neutral ‘Pure Platinum’ is used on the mesh adjacent, while white takes on the upper panelling, a sail hue makes up the midsole for an aged look, respectively. To cap it off, a mini Swoosh on the is almost synonymous to a Patta x Nike collaboration.
In addition to its release, Patta and Nike have curated a short four-part film called ‘Wave Not Cycles’ following siblings Abdul and Carista as they ride the ever-changing seas of life. The film and collaboration is a thematic reference to the cultural shifts and enduring influence that Patta has had on its greater community and industry.
PLEASE TAKE TIME TO READ THE BELOW!
Draw Closed!
ONLINE raffles will now be over on the Footpatrol app, CLICK HERE to download! online raffle sign ups close on ?
To enter, you’re required to sign up via the above forms, these WON’T be available in-store to sign up on.
In-store winners will be contacted via email informing them of their win. Within this email, winners will be given a set of dates in which they must collect their win from our London store. To collect, you will need to provide the winning email and a valid photographic government ID matching the winners name. NO ONE can collect on the winners behalf. Failure to provide this, or failure to collect within the given dates will mean failure to purchase your win.
To sign up to the Online raffle, you will need to download the Footpatrol Launches app and complete a pre-authorisation payment of the retail price of the product plus shipping costs. This will be held until raffle completion. Those successful will have their raffle win posted out to the address entered during sign up. Those unsuccessful will see a return of their funds, this can take up to 5 working days from when the winners have been drawn. The raffle is limited to one entry per household! Multiple entries will be cancelled!
The Air Jordan 1 OG High is back with another iteration, this time in a familiar colourway. The black and yellow combination has almost become synonymous to the Nike Dunk High ‘Goldenrods’ or ‘Wu Tang’s’ version but the AJ1 has taken a life of its own.
The upper is constructed in signature fashion with a soft tumbled leather underlay in black whilst the yellow overlay is done in the same vain. Yellow takes the Swoosh and outsole, whilst black hits are found on the iconic Wings logo. Further yellow hues are found on the laces and tongue tab white completes a future classic.
PLEASE TAKE TIME TO READ THE BELOW!
Raffle Closed!
ONLINE raffles will now be over on the Footpatrol app, CLICK HERE to download!
To enter, you’re required to sign up via the above forms, these WON’T be available in-store to sign up on.
In-store winners will be contacted via email informing them of their win. Within this email, winners will be given a set of dates in which they must collect their win from our London store. To collect, you will need to provide the winning email and a valid photographic government ID matching the winners name. NO ONE can collect on the winners behalf. Failure to provide this, or failure to collect within the given dates will mean failure to purchase your win.
Amongst a host of Air Jordan 1 releases, the latest iteration takes inspiration from the cut and craft, disruptive design ethos of prototypes. Before the end result in which consumers buy, designers go through stages in which they chop and change materials, perfect the quality and design in order to give the best product.
This up and coming release proves the theory of that by offering people an irreversible opportunity to cut their pair. In recent years, the Air Jordan 1 High has been the sought after model, with collaborations, new retros and colourways releasing, its no secret that everyone wants a pair. This has also trickled down to mid and low tops.
With the AJ1 ‘Prototype’, the upper features a subtle combination of white leather and 2-tone light grey nubuck, 3M detailing around the toe-box and mid panel. Black leather is used for the Swoosh and heel, whilst blue hues make up the ankle collar. Embossed etching along the ankle provide the unique detailing to allow customers to change their high to low. Total orange hits is used for the tongue and mini Swoosh (located at the bottom of the tongue).
For this release, we tapped out Soho neighbouring locals ‘Chris Kerr Bespoke Tailors’ to help with the process of this opportunity, however, we needed a safe pair of hands to intricately craft the pair.
PLEASE TAKE TIME TO READ THE BELOW!
Raffle Closed!
ONLINE raffles will now be over on the Footpatrol app, CLICK HERE to download!
To enter, you’re required to sign up via the above forms, these WON’T be available in-store to sign up on.
In-store winners will be contacted via email informing them of their win. Within this email, winners will be given a set of dates in which they must collect their win from our London store. To collect, you will need to provide the winning email and a valid photographic government ID matching the winners name. NO ONE can collect on the winners behalf. Failure to provide this, or failure to collect within the given dates will mean failure to purchase your win.
Further In-store launch info coming soon!
When it comes to sneakers, the Air Jordan 1 has often been used as a base for telling different stories and with its multilayered upper showcasing endless colour combinations and experimentations, this latest rendition takes things back to a more simplistic approach.
Based on the Air Jordan 1 Mid, this latest experiment seems to take inspiration from the world of art, in particular the artist’s themselves. The upper features a stripped back aesthetic that see’s a mixture of canvas like hues act as the base. The Swoosh remains intact however, on the lateral sides it has been torn away and in its place reveals an artist like brushstroke whilst hinting towards those more expressive painters, the design is completed with a splatter paint effect that covers the silhouette.
Taking this latest AJ1 out on to the streets of London, we caught up with street artist Remi Rough at his studio to learn more about himself, his art and how he got to where he is now. Take a closer look at Remi’s work below and to shop the Air Jordan 1 Mid ‘Brushstroke’, click here.
FP- Hi Remi, Hope you’re well, Could you start with telling us a little about yourself and the kind work you produce?
RR – I guess I make abstract compositions that originate from my days as a young graffiti style writer. I use those references of colour and dynamic to create pieces that fold in and over themselves. Two dimensional but with a three dimensional aesthetic. At the end of the day I’m just a painter though.
FP – All artists have influences, are there any significant creatives or even movements that were/are persuasive to you and the way you view/create art?
RR – Initially I was grabbed and swept along with the whole graffiti art invasion of the early 80’s. I tried to find as many references, books, magazines and literally anything else I could find. I met an artist called Juice 126 in 1989 and he was highly influential on my direction and trajectory and introduced me to a bunch of artists I didn’t know that well and really opened up my mind to experimentation. Another artist of that time who influenced me greatly is Stormie Mills, he’s like a big brother to me and his advice throughout my career has been invaluable. Later on I discovered the abstract expressionists and Suprematists and started to continue their legacy as it seemed so few other artists were on that tip. I am also very influenced by Graphic Designers like Vaughn Oliver and Designers Republic.
FP – Is there a preferred size you like working to? or even a favourite material?
RR – Not really, I love doing the big murals but I also love being in the studio and creating a piece on A5 paper… It all depends on how I’m feeling on that day. The smaller works more often than not reference the larger works so nothing goes to waste ever but both large and small affect me in different ways. Although doing the bigger walls is getting a little more tiring nowadays if i’m honest.
FP – How have you found working through the pandemic?
RR – To be honest It’s been absolutely fine. Everything seemed to go over the side of a cliff at first but bit by bit things came back and I managed to do some self initialised projects that helped carry me through. I also had a couple of nice commissions for local murals in my area and a great project with Haig Club and David Beckham which really helped me out. I also moved to a bigger studio almost exactly one year ago which has really helped me grow as an artist. I’ve not stopped working throughout the whole time and I think that’s benefited me greatly.
FP – In your opinion, how has graffiti culture changed?
RR – The essence of it hasn’t really changed but I think the knowledge and understanding of it has got lost dramatically. When I was a young writer you were entirely obligated to know, research and understand the history and trajectory of graffiti writing but nowadays most kids don’t even know what Subway Art is let alone own a copy. I don’t necessarily think it’s the most important thing in the world to know the backstory but it just gives the current scene a different spin. If we were all uber nerds about it I guess it might get a little boring…
FP – Do you endorse fashion and graffiti crossovers? Or do you think there should be certain types of art that shouldn’t leave the canvas?
RR – If things are done well I’m all for it, brands can help artists and projects come to life when arts funding is getting constantly cut and pulled. It’s nice to see brands putting into the arts. That said, I’ve seen some truly awful collaborations of late. I guess it comes down to trust and ideas in the end. The brands need to trust the artists they work with to be able to do their best possible work and the artists need to be able to bring the brands ideas to life. It can sometimes be really difficult. I’m really lucky in a lot of the brands I’ve done projects with. The Haig Club / David Beckham project I did recently was great! Awesome people to work with and they really let me do what I thought would have the best possible outcome. I think we ended up with a brilliant product and everyone was happy. It’s all about relationships and conversations too.
FP – You have a portfolio of spectacular work all over the globe, is there a location that has been the most memorable (and why?) AND are there any places you would like to revisit or even a place you haven’t been to put your stamp on it?
RR – Wow! How on earth do I answer that? I recently saw a meme that had over 50 countries listed and said if you’ve been to more than 10 of these countries you’re weird (or something like that). I’d been to 28! So it’s hard to choose a favourite place or project. I love going to the US, I have some incredible friends that I really miss over there. Moscow was incredible. I’ve been twice and it was a real culture shock, I absolutely love Hong Kong, easily one of my faves for sure. I guess I really would love to go and do a project in Japan. I have some great friends there too and have yet to go. It’s like my life’s dream to go there and my studio assistant recently went and literally bangs on about it every day haha.
FP – Can you tell us a bit more about the project ’The Dead Can Rap’
RR – TheDeadCanRap is a project myself and the amazing Mike Ladd started about 3 years ago. We used to tour together when I was in a band called Reptiles many years ago and remained good friends. We’d always send each other beats and sketches for music and then Mike said right! We’re going to call ourselves TheDeadCanRap and get this album done and we released our debut album last December. It features Open Mike Eagle, Nosaj and Malik Ameer and it got some amazing reviews and we managed to pick up a crazy fan base too. We’re currently working on the second album and have guests including Joan As Police Woman, RAP Ferreira, Roger Robinson and Tunde Adebimpe lined up for it. I love it to be honest. TDCR has really kept both Mike and I sane over the past couple of years. The album is out across all streaming platforms and we also made a small book with loads of graphics, photos and all the lyrics from the album.
FP – We appreciate you taking the time to show us around your studio and giving us a little insight into the world of Remi Rough! As the world continues to slowly open up, are there any upcoming exhibits of yours or mural locations we can visit?
RR – My absolute pleasure!! I have 2 pieces in the upcoming Royal Academy Summer Exhibition which opens 22nd September. I was invited to show my work by Humphrey Ocean RA and I am super excited about that as it’s a really big deal for me. I also have work in the upcoming Start Art Fair at Saatchi Gallery in a couple of weeks.
Mural wise, they’re all over the place. I have a few in East Dulwich near where I live and the biggest mural in Central London on the Megaro Hotel, in front of Kings Cross and St Pancras Stations that’s been there since 2012. There’s a couple in Walthamstow that I did for the Wood Street Walls project and others dotted around. I always think it’s way more fun to stumble across things like that than to be given too much of a clue.
