Tag: footpatrol
Since Footpatrol’s birth 20 years ago, we’ve always had a strong connection to the adidas Originals Campus. Since our first collaboration on the Three Stripe silhouette way back in 2007 on a set of three colour ways, we revisited the silhouette again in 2012 to complete a pack of four and who knows where we’ll take our love for the silhouette in the future.
To celebrate the adidas Originals Campus and our 20th anniversary, we invited down Superstar and Campus collector Dave Robertson who brought down some of his favourite pairs including those four Footpatrol pairs.
Take a closer look below at some unique, rare and simply out there pairs!
Footpatrol: Dave before we get into everything, how are you?
Dave Robertson: I’m good, very well in fact, I have recently moved back to the seaside where I’m channelling my inner seagull.
FP: For people that are unfamiliar with who you are and what you do, could you tell us a little about yourself?
DR: What? Unfamiliar? I have over 25 followers on Instagram don’t you know who I am? I’m 46 going on 12, my Internet name is Lurky and that’s because 15 years ago I used to hang around on Internet message boards but was too shy to post and was branded a lurker. I tweaked it and here I am, not the best nickname but I had to roll with it. I’m also not shy anymore.
FP: How did your love for trainers, specifically adidas, come about?
DR: One word, the Internet. I had no idea about the styles and colourways available, they only sold cricket bats and fishing rods in my local sports shop but the more you find out the more you want. It’s a very dangerous place, I’m sure many of your followers will understand. What I will say is, you don’t have to have every pair, it’s a marathon not a sprint.
FP: Tell me a little bit about your Instagram page endorsed by Dave, what was the motivation behind starting this? We can see a lot of custom tongue tabs there.
DR: Endorsed by Dave came about because I wanted to do something different. I had a fairly successful account but it demanded a lot of my time so I decided to do something fun for myself and be more creative, it was time to take a step back and a break from the old routine. I decided to design Stan Smith-esk tongue badges for shoes that would probably never see the light of day. It was a way of learning Photoshop and I found it very therapeutic. It also gave me pride that I could make something unique instead of showing off with my collection. I get the odd request for personal badges but I always ask that they make a small donation to a charity and that’s usually The Dog’s Trust.
FP: Why is the adidas Campus silhouette special to you?
DR: The superstar is my first love and always will be! But the campus, the campus 80’s in particular comes a very close second. I wanted something for my non shell days. The first time I held one in my hands I knew they were something special, it was about the shape, the construction, the smell and quality. 90% of campus are suede and the majority are made in the Vietnam adidas plant to a very high standard.
FP: We love that you have collected so many pairs of adidas Campus’ from all eras over the years, what era of Campus would you say is your personal favourite in terms of shape, quality and releases?
DR: The French-made pairs from the Mid-eighties are spectacular. They came in a black with silver stripes; Argentinian blue and burgundy; black with red stripes and also a light grey and a light green. For me, they are the best there is, the best there was and the best there ever will be. It’s the same silhouette that Footpatrol used for the original collaboration, there’s some good people behind this eighties reissue.
FP: If you could only wear three pairs of adidas Campus from your collection for the rest of your life, what would they be?
DR: House of Pain from 2008 with its shaggy suede upper, Irish accents and embroidered HOP shield on the tongue, limited to 1000 pairs and released for the US market only, they always get a run out on Saint Patrick’s Day. The simple but effective scarlet Footpatrol is my favourite from the 2007 pack with its very tasteful instep snake stripes and butter suede. The iron greys are great also but crazy hard to come across nowadays.
Olive undefeated/ Bape with a subtle camo hint, super soft suede and stripe free design. Only sold in the adidas flagship shop number 6 and the bape store in the Uk. No doubt they will look great with my pyjama bottoms at the residential care home watching a rerun of Love Joy.
FP: If you could design your own pair, what features would you include?
DR: I have already done it, the pair I’m wearing in the feature, I commissioned with a very good friend. There hadn’t been a campus with a full camouflage upper so we went for duck camouflage fabric and who hunts ducks? The Looney Tunes of Elmer Fudd of course. We featured him and added oily leather lace stays and white heel, tongue and stripes, and some very simple detailing.
FP: To finish off we would like to thank you so much for the interview! Is there anything you would like to share with the Footpatrol friends and family? A message of positivity, whatever you like.
DR: Trainer collecting is fun and it always should be.. As my great grandpa used to say “only buy what you like for retail In your size and wear them”
Thank you so much for having me, it’s been A-blast.
An eclectic Birmingham based fashion start up in 2016, Bene Culture is more than a subcultural fashion brand, it internalises a diverse community that has become a wide part of their inclusive journey and youthful narrative. From a vintage store to a multi-brand retailer, Bene Culture utilises their unique roster of apparel and accessories creating a sense of space and acceptance for marginalised audiences. Focussing on a wide range of designs that are forward thinking, stylistically innovative and a true emblem to their community.
Transforming their physical and digital space into a mecca of budding creatives, has proved the credible way that Bene Culture has connected with its streetwear audience. Hosting over 40 events, from brand pop ups, concerts, exhibitions to listening sessions. Bene Culture is an inaugural fit with Footpatrol due to its vision to do more than sell apparel, becoming a larger part of a society that continues to inspire the masses.
At Footpatrol we have had the pleasure of teaming up with Bene Culture on a space inspired range – one that nods to creatives namely Anna Mills and Stewart Armstrong who have worked with a lengthy catalogue of brands; Blacksmith Store, Axel Arigato, Eytys and many more. To kickstart this exciting collaboration as a true sentiment to our own streetwear community here at Footpatrol, we have created a range of t-shirts, a hoodie and beanie iteration that we think you’ll love.
Our invigorating range of t-shirts come in three lively iterations: ‘Explore’, ‘Celestial’ and ‘Reflections’ all previewed in plush cotton body with space-themed graphic printed on the front and reverse, available in a range of futuristic colour hues (purple, green and pink). The fits are rounded off with a hem stitched detailing.
The FP x Bene Culture Explore hoodie is a stylistic standout, opting for a blacked cotton and recycled polyester mix, adorned with blue spaced-theme lettering on the front, a classic drawstring hood and kangaroo pocket. Plus, the elasticated waistband and cuffs completes this fitted look.
Finalising our range is the beanie, constructed from a plush knitted body embossed with geometric Footpatrol and Bene Culture branding throughout – dressed in a pink hue.
Shop the Beneculture x Footpatrol collection in-store and online here!
To help us celebrate the launch, us and Bene Culture have teamed up with the good people at Keep Hush for an evening of celebrations. Join us on Thursday 28th April from 19:00 at a secret location in Peckham. All you need to do is RSVP here.
Last week saw us bring back our in-store events at our London store! For feels like forever, we had the great opportunity of being the UK’s only stockist of The Hartcopy Journal – Volume 1. To celebrate, we invited down creative lead, Sam Le Roy for an in-store launch and signing event.
Acting as a digital documentation of all things within street culture, especially sneakers, Hartcopy became a go to digital platform where you’d walk away having learned something new! Now for 2022, they enter into the world of print with their first publication… because print definitely isn’t dead!
A massive thank you to all of those who came down for the evening, managed to pick up a book, joined us for a drink and said hello! Not only did we have a display on show of some of the footwear within the book, but you all pulled out the stops with your on foot selections. Take a closer look below and we’ll hopefully see you all again soon.
And for those who missed it, we recently caught up with Sam prior to the launch to learn more about Hartcopys journey and how it all began, CLICK HERE to read more.
JJESS KNOWS HER PLACE
JJESS’ music has been making waves for many reasons. Her DJ sets feature musical transitions that feel more like spatial shifts, spanning geographies and genres. These mixes create a sonic crosshatch, weaving techno beats with Afro house, big name artists with avant-garde sound.
This multi-genre trademark is the offshoot of creative ingenuity. But it’s also a reflection of Jess’s interdisciplinary approach to work and life, an unwavering tenacity to find her place within a variety of spaces, even those that might feel inaccessible.
Growing up in east London, Jess established her DJ career after leaving university in 2017. Since then, she’s navigated the music industry from all angles, working in radio production, playing clubs and festivals, and curating a professional identity online.
“My background’s in radio,” Jess tells me. “That’s actually how I got into DJing. I was working with [people] that played so many different genres of music. It opened my ears and my mind to all the different sounds out there.”
Despite early exposure to the industry, Jess tells me a sense of belonging took time; “I always wanted to DJ, I just didn’t really know how to start. I still didn’t feel like I could call myself a DJ […] for a few years.” This separation came from a feeling of inaccessibility. As a Black woman navigating a predominantly white cis-male industry, Jess recalls feeling anxious in certain spaces: “It was as though I didn’t really belong [in them].”
But a deep love of music pushed Jess to make accessible what had previously felt exclusive. “I’d never seen [music] as a career […] but I’ve always been surrounded by it. My dad was heavily into collecting CD’s and buying sound systems”.
Starting work in radio production for the BBC was a way in, though Jess describes the constraints it had on her creativity. This encouraged her to navigate the industry on her own; “I wanted to explore how the different sounds in my head could sound to others […] explore my own avenues and work on my own terms.” By carving out spaces that once felt unattainable, Jess has found creative agency and a stronger sense of identity.
“That sense [of not belonging] can sometimes consume you […] but I just remember why I started. I wanted to be the DJ that elicited that same feeling I felt when I was listening to a set.”
Since the pandemic, the spaces which Jess moves in have shifted. Clubs have closed and digital platforms are taking over, forcing creatives to navigate more uncharted territory; “Social media is tricky, because it feels like so many opportunities come from [these spaces],” says Jess. “It’s just another place where I need to present a certain image of myself, and you can get lost in that”.
But despite these shifts, Jess takes new spaces in her stride. I ask her where she feels most creative – playing out in clubs, recording in a studio, or sharing her work online. She tells me she likes a balance. Playing out allows her to build a community: “I want my shows to be […] a place to discover new music”. And in the digital sphere, she cites playlisting as another means of sharing with that audience: “it [allows me] to be that kind of discovery platform for others”.
This open dialogue is something Jess treasures in her work with the Girls Can’t DJ (GCDJ) collective, an initiative showcasing women and non-binary artists by giving them the platforms to network and perform. “Jords, who runs GCDJ, has been amazing at giving women the space to have certain conversations about things we all go through [in this industry],” says Jjess “Having that [space] to share things, it’s super important. It’s just made me feel like I’m where I’m supposed to be.”
Jess recognises the importance of these outlets now more than ever, with the post-pandemic landscape favouring mainstream venues. “Spaces for women, for people in the LGBTQ+ community, it’s just almost non-existent. I’m hoping small clubs will start re-opening but it all comes down to funding”.
We talk about stagnant discussions to this effect. Every year within the music scene, Jess tells me, “We have the same conversation, that there’s not enough women on festival lineups. But nobody’s doing anything about it”.
Despite her evident frustration, Jess maintains a calm demeanour as we talk. I’m struck by this pragmatic sense of hope, a sign Jess hasn’t simply found her place, but is becoming that space for others. “I’ve always said, if anyone has any questions, just ask me. Slide into my DMs. I know that’s really scary, but I want people to feel comfortable enough to talk about these things”.
In this way, JJESS’ music becomes a conversation. Despite the divisions between Jess’s physical, digital, and sonic environments, she’s found ways to bridge the versions of herself that inhabit each space.
“It’s a very interesting thing, the different versions of yourself that exist in different spaces. When I’m DJing, I feel more confident. Whereas day to day, I think I can be pretty reserved.” This confidence ripples into all aspects of Jess’s life, “It affects your day to day mood. Just knowing that you’re talented, you can transfer that into other things.”
“Certain spaces can feel very intimidating. I think there’s still a lot of work to be done for women DJs, unfortunately.” She recalls being typecast as a Black woman, with bookers often expecting her to play rap or R&B. “After a while, you think ‘maybe this is what I’m supposed to play’ but I’ve realised I only want my set to be booked in spaces that will accommodate my sound.”
It’s inspiring talking to Jess, witnessing her steadfast response to adversity. But it’s also a reminder that, in exclusionary spaces, the burden of creating change often falls on the shoulders of those marginalised people. DJ training programs aimed at women and non-binary artists – like Mix Nights in Bristol – are positive signs, but they remain few and far between.
I ask Jess if she thinks industry leaders are doing enough: “Definitely not. Booking agents, the people in charge of festival line-ups, they’re the gatekeepers. They’re the ones who have to be willing to make changes.”
Rebuffing the borders erected by these gatekeepers comes back to JJESS’ multi-spatial, multi-genre sound. She pulls inspiration from everywhere she can, telling me her home city of London is unmatched in its diversity and creative opportunity. And it’s not just music she turns to for motivation; “People who’ve started a brand, and built a community around that brand, I think that’s so cool. I love when people think outside of the box to elevate other projects.”
DJing is ultimately a way for Jess to express herself – in the many forms that entails. “It’s like music. It has different genres, and those come from certain subcultures with their own way of dressing, their own way of living. DJing is definitely an extension of myself, my creativity, and how I portray myself.”
Perhaps most overtly, it’s her upcoming project, ’Code Switch’, that unravels this multi-faceted identity. Spanning various mediums, it’s a reflection of her transcendental sound.
“I wanted to connect to my Nigerian background. I went every year as a kid, but I wanted to find my own way there as an adult. I’ve started going quite frequently by myself.” ‘Code Switch’ draws on this experience of diaspora and identity through soundscape, music and film. Jess describes it as a research project, seeing it as a chance to explore the backstories behind our musical identities. It highlights an inspiring truth: that Jess’s capacity to weave spaces together exists in each of us.
“I’m speaking to people who live in lots of different spaces. Talking about growing up in a certain city, the music, sound, smells that describe that space, and how it’s shaped their creativity.” Jess says completing the project is her biggest goal this year. It certainly feels like a natural next step.
“Everyone’s a DJ” she tells me. Despite my lacking musical talent, I’m inclined to agree. Because for Jess – whose navigated a rigid industry by pushing a composite sound – DJing is more than a technical skill. It means trying to embrace the many versions of yourself that grow from different spaces, and filling those spaces unapologetically. If you ask me, she’s certainly succeeding.
Editor – @igweldn
Photography – @stuartnimmo_
Photography Assistant – @rhysbawilliams
Words – @flobellinger
Styling – @rachel.parisa
Design – @jack___sharples
Production – @pifivy
Birthed out of the necessity for a multifunctional shoe that breathed individual style and function. Hatfield’s Nike Air Trainer 1 was one that satisfied his own imagination – curating a sneaker that would serve as inaugural cross-trainer at the gym. Hallmarked for its extroverted colour iterations, stabilised lateral outrigger and a lockdown feel, occupying a retail space between the quintessential b-ball fit and runner – truly unmistakable and rebellious in nature solidifying its cult-like status amongst many different people. From all kinds of crafts, interests and walks of life – building a unique synergy between gym goers, tennis court enthusiasts, b-ball players and runners.
Over the years, the Nike Air Trainer has boasted a lengthy roster of eclectic collabs. I am sure you’ll remember the legendary and hi-vis accented ‘112’ pack with DJ Clark Kent, the Fragment open/chino iteration to the early HUF ‘Gold Digger’ collab – it is a trainer that never fails to make a stylistic impression.
The latest Nike Air Trainer gets the ‘Light Smoke Grey/ Honeydew’ upgrade. Opting for a synthetic leather upper coated in a mixed tonal hue of grey and blues, while accents of ‘Honeydew’ complements the collar, Swoosh branding and midsole. Airy mesh underlays on the sidewalls and perforations on the toe vamp keeps things breathable paired with iridescent detailing throughout.
A signature midfoot strap is situated across the lace chamber – ensuring a snug and customisable fit. What’s more, a plush insole unit delivers unrivalled cushioning and a lateral outrigger enhances performance. Underfoot, the rubber outsole features multi-directional tread – the durable must-have this season.
The Nike Air Trainer 1 ‘Honeydew’ is now available to shop in-store and online!
The written word is often overlooked when thinking of the creative industries. But copy – the written material that conveys an idea – is a key element of nearly every project or campaign.
Led by poet, copywriter and SNKRS Live host Will Stowe, this workshop will open up the specialised field of copy to show that when it comes to ideas, often less is more. This isn’t about paragraphs of long-form copy: what we’re aiming for is the ability to communicate an idea in an impactful way.
Attendees will be guided to create a slogan on the theme of ‘change’, using just a handful of words to get across a big idea.
To be in with a chance of attending Workshop 1 with us and Will Stowe, you can sign up to attend by CLICKING HERE!
To see more of our re.GENERTAION workshops, click here!
re.GENERATION – powered by FOOTPATROL is a series of workshops designed to lift the lid on the creative industry and pass on knowledge to the next generation. Aiming to open up access to those who’ve missed out on formal training, the workshops will help attendees form their own creative practice by showing them how to turn ideas into reality.
Led by respected industry figures from the Footpatrol community who’ve done things their own way, and using a mix of personal insights and hands-on experience, the workshops will provide attendees with a toolkit of techniques, contacts and real-world knowledge to kickstart or enhance their creative endeavours.
The workshop series will cover four key areas in the life cycle of a creative campaign, culminating in the launch of a Footpatrol Communi-T t-shirt. Workshop 1 covers copywriting, using the written word to convey an idea on the theme of ‘change’. Workshop 2 will use these ideas to create graphic images, a selection of which will then be screen printed onto t-shirts in Workshop 3. In Workshop 4, creative campaigns will be conceptualised for a shortlist of the best tee designs, with the winning t-shirt and campaign concept ultimately brought to life as the next Footpatrol Communi-T release.
Would-be participants can apply for a place in one workshop each, and must be able to attend a London location on the relevant date(s). Places for each workshop are limited, but printed and digital zines will be available after each event to share the process and insights with anyone who’s unable to attend.
To share your interest in attending workshop 2: Image Making which will be hosted by Mark Ward, please head over to our latest blog piece here and fill in the sign up form.
Though it’s relatively new to the scene having started back in the first lockdown in 2020, Hartcopy was never short of knowledge. Acting as a digital documentation of all things within street culture, Hartcopy became a place where you could enjoy learning new things about the things we all know and love whether that’s special apparel pieces, the oldest (or latest) sneakers or accessories, you always came away having learnt something new.
Now, two years later, Hartcopy are releasing their first physical printed matter with ‘The Hartcopy Journal – Volume 1’ and at Footpatrol, we’re excited to announce we’re the UK’s exclusive stockist. To celebrate, we caught up with creative lead Sam Le Roy to learn more about Hartcopy, how it came about and how they gather the knowledge for all the product.
To be in with the chance of getting your hands on a copy, head over to the Footpatrol Launches App or alternatively, join us in-store on Thursday 14th April between 7PM – 9PM BST where we’ll be joined by Sam for an in-store signing where we’ll also have limited availability of the book to purchase!
Footpatrol: Sam Le Roy, the man behind the copy, how are we doing?
Sam Le Roy: I’m great! Very busy, tonnes going on, but it’s a good problem to have.
FP: Let’s start off nice and easy. Could you give people a little bit of insight into who you are and what you do?
SLR: I’m a sneakerhead first and foremost, a collector, a writer, a content creator, all wrapped into one. I’m the creative lead at Hartcopy, a platform dedicated to shining a light on some of our favourite stories from the sneaker scene and its peripheral subcultures. I’ve got the best job in the world – writing about things I’m already fascinated in.
FP: HartCopy, a page conceived during the Covid pandemic. How did this journey for you all begin?
SLR: Well the journey started with Tim Suen, an amazing bloke from Singapore. Hartcopy is his creation, he really dug out the blueprint from a love of classic Japanese print mags and sneakers. Tim posted the account on a now disbanded Facebook group, and me being an aspiring writer, I sent him a message asking to give him a hand. That was near enough two years ago now, and the two of us really grafted to hollow out a space in the industry, and we’ve picked up a few amazing people on the way that have spend countless hours helping out.
FP: What was the aim with the page itself?
SLR: A few things really. For Tim, he wanted to simply document his collection. Things really developed quickly and we realised that we could do something big – speaking on my behalf, I saw an opportunity to capture some like-minded individuals, build a community and really become a force in the culture. On a more surface level, Hartcopy opened a door for me to escape reality and work in an industry I previously thought was inaccessible.
FP: The diversity HartCopy has in stories, brands and products is so wide that it’s hard not to be drawn into wanting to learn something new. Without giving too much away, where do you source this information from?
SLR: Personally, I get it from all over the place – there’s no one outlet. Old blog posts, instagram posts from collectors, chatting to designers and employees from big companies, the information is really a mish-mash from anywhere I can find it. In terms of inspiration, and figuring out what I need to write about and cover, it’s all about dissecting what’s relevant in the moment and thinking about how I can relate it to products from years ago. Sometimes it comes very easily, sometimes it ends with me in a very frustrated state, shutting the laptop for another night.
FP: Now of course, the book. I have been excited for this since you told me about it last year. How has it been producing your first printed edition?
SLR: The book has been amazing to make. All of the intricacies I have to consider on social media and digital content are blown up tenfold; the stakes are higher, and it’s amazing to think that someone will be able to open The Journal up in years to come, and (hopefully) admire what we did.
On another note, it’s been a massive learning experience for me, one that I’m hugely grateful for. I know so much more now than I did six months ago, and I’m excited to push hartcopy even further with these insights.
FP: Do you see this as an ongoing journey?
SLR: The Journal, and books as a whole, are absolutely an ongoing journey for Hartcopy. Tangible products are so hard to execute, especially so in a world so obsessed with the digital and disposable, but I’m confident we can build something really amazing from the foundations we’ve already got in place.
FP: What do you think is the next step for HartCopy, you are already a global platform. I am intrigued to hear where you look to take things?
SLR: Just like the products we write about ever day, the goal with hartcopy is longevity and timelessness. We’re in it for the long run, which is exactly why we didn’t rush anything putting this stuff out. I know we’ve nailed our goal of documenting culture, and we’ll never abandon this mission, but I really want to start steering the culture little by little. This will come through more books, products, maybe sneakers, all of which will have some brilliant stories attached.
FP: Sam, thank you so much for your time as always. We are really looking forward to the in-store book signing and launch on Thursday. Before we let you go though, we like to give all our interviewees a chance to sign off the interview in any way they wish, whether that’s to get people excited or just a message of positivity. So without further ado Sam, take the stage!
SLR: I’d love to say a big thank you to Tim Suen, who really is the man that made this whole thing happen. Him and I have worked so hard on this, but in reality, without him, Hartcopy wouldn’t exist, and I’d be in a lab doing a very bad job at a Masters Degree in Chemistry. On the same note, everyone else that contributed to the book deserves a big pat on the back and some love. Phil, Joash, Chris, Arthur, you guys really killed it.
Onwards and upwards!
Last week saw the coming together of two streetwear giants, Converse and Carhartt WIP. In what has been a long line of collaborations between the pair since 2017, the duo return with a collection that places a sport that’s rooted within the pair at the heart of it, skateboarding.
To celebrate this latest collaboration, they hosted a special event in the heart of Paris, France. Fittingly, we sent some of the Footpatrol Paris team to check it out and to see the two piece footwear collection being put through its paces.
With skateboarding apparatus set up within the foundations of a derelict Parisian building, select skateboarders had the opportunity to push their limits, show off their ability all whilst highlighting the Fastbreak Pro and One Star Pro.
The Converse x Carhartt collection is now available to shop online at Footpatrol here!
For their latest release dubbed the ‘Fast Pack’, the Nike Air Zoom Alphafly NEXT% is one of those products that does exactly what it says on the tin… Consisting of a number of their top runners, the Alphafly is by far their most elite option.
The recipe is simple, ultra cushion, reactive and of course lightweight. How did they achieve it? Starting at the top, the Atomknit is a new innovation from Nike that’s moved on from the traditional Flyknit and brings a tad more sturdiness to the upper. Underneath continues with the innovations by taking the Air Zoom Vaporfly NEXT% and upping the ante. The stack height is larger with even more ZoomX foam, a carbon plate still sits built within the midsole for that ultra responsiveness whilst not stopping their, Nike call upon their history with Air by incorporating two Air Pods under the forefoot. This all adds up to become a shoe that loves taking on personal bests!
To finish things off, the Alphafly now comes in a burst of Hyper Violet which with its black staggered outsole against the white ZoomX foam, it definitely lives up to its name ‘Fast pack’.
The Nike Air Zoom Alphafly NEXT% ‘Fast Pack’ is now available to shop at Footpatrol here!
