For the past five years, ASICS has ridden the sportstyle wave with near-perfect timing. GEL-Kayano 14s, GEL-Nimbuses, GEL-1130s — silhouettes once reserved for marathoners and gym dads now live comfortably in fashion wardrobes. With collaborators like Kiko Kostadinov and Cecile Bahnsen leading the aesthetic charge, ASICS transitioned from performance-first to fashion-relevant, without ever losing its technical DNA.

But 2025 has been relatively quiet, partly due to a broader shift away from sportstyle sneakers. No new silhouettes from ASICS have cut through. Even Kiko’s sub-line, while still consistent, feels niche and self-contained. ASICS, for now, seems to be coasting.

Meanwhile, the rest of the industry is moving forward — and flat-soled shoes are leading the shift.

The Flat-Sole Shift

We’ve moved past the peak of the Samba and Onitsuka Tiger Mexico 66 wave. Their popularity reintroduced low-profile sneakers to the mainstream, but today’s direction is heading even flatter. The ballet flat resurgence has reshaped how people think about footwear: less support, less structure, barely any sole at all.

That influence is bleeding into sneakers. Designers are borrowing from the elegance and minimalism of ballet flats, producing hybrids that blur the line between sport and softness. The clearest articulation of this is the New Balance x Miu Miu 530, an athletic upper reworked in luxe materials, sitting atop a flat, minimal sole unit that appears almost midsole-less.

The impact has rippled outward. Prada, Louis Vuitton, and others are now pushing their own interpretations of the flat-soled sneaker — further proof that performance silhouettes are being reshaped with restraint, not volume.

The Tabi Resurgence

In parallel, the fashion world’s interest in split-toe footwear continues to build. Margiela’s Tabi remains a cult icon, but it’s the Nike Rift that’s been picked up most recently — adopted at pace by fashion-forward women. The silhouette feels grounded, unusual, and confidently anti-trend.

Even Kiko Kostadinov has tapped in. His FW25 womenswear collection debuted tabi-inspired ASICS: laceless slip-ons and boot-like forms, nodding to the split-toe tradition while staying within his structured, minimalist language. The reference is clear. The groundwork is there.

A Missed Opportunity

Which brings us to the Marathon Tabi — a shoe ASICS quietly developed in 2005 for Japanese astronauts training aboard the International Space Station. Lightweight, flat-soled, and split-toed, it was a functional reimagining of traditional Japanese tabi, made for microgravity workouts.

It also happens to be a perfect fit for 2025.

The Marathon Tabi sits right at the intersection of two dominant footwear narratives — flat-soled minimalism and split-toe design — while being entirely rooted in ASICS’ own archive. Not a collaboration. Not a concept shoe. A fully formed product with authentic heritage and conceptual clarity. And let’s not forget: the upper is textbook “dad shoe,” grounding it firmly in the brand’s visual language.

Brands don’t have to follow trends. They can — and often should — create their own. But that doesn’t mean they should let opportunities go to waste, especially when they’re sitting on something that could push the boundaries of a current trend or reshape it into something uniquely theirs.

It’s rare that a brand has the right product, at the right time, with the right cultural context — and still doesn’t pull the trigger. ASICS even had the opportunity to time a reissue around the design’s 20th anniversary. All the dots were in place. They just weren’t connected.

A reissue of the Marathon Tabi wouldn’t feel like a throwback. It would feel like a reset. A recalibration of what ASICS can offer in the lifestyle space — drawing from deep design history rather than chasing collaborations or trends.

ASICS has the archive. It has credibility. And with Kiko shaping its design language, it has the slow-burn cultural equity to make a move like this land. The Marathon Tabi wouldn’t be a bandwagon release. It would be the rare shoe that feels completely of the moment — while remaining entirely its own.

It’s hard to call something “missed” when it never really got the chance.

But this one feels close.

There’s a certain breed of digital watch from the '80s and '90s that doesn’t scream for attention — it just exists with quiet confidence, wrapped in chunky plastic casings, utilitarian displays, and buttons that feel more like control panels than timekeepers. No celebrity endorsements. No artificial scarcity. Just pure, unapologetic function, designed for people who needed their watch to do something specific — and do it well.

In a world increasingly obsessed with minimalism and seamless tech, these watches stand out by embracing bold purpose over polished aesthetics. They’re functional tools, built with a specific user and task in mind. Casio, Citizen, Seiko, Timex — these weren’t about trend cycles or clout. They were about clarity, utility, and intentional design, delivered in a form factor that made sense — and looked good doing it.

Today, watches serve two purposes: status and function. In a sea of Rolex Submariners and feature-bloated smartwatches, my eyes are fixated on colorful plastic wrist companions that make me look like a Power Ranger. But here’s the thing — these timepieces offer something rare: singular focus. Each one was made to solve a problem, as best as possible, with the technology available at the time.

Sometimes, that problem wasn’t even a real one — it was about pushing the boundaries of what could fit into a wristwatch, for the sheer thrill of it. That ambition led to creations like the FM Radio Quartz with headphones from 1985, or the Casio Cybercross, which let two users play infrared games against each other — on their watches.

Let’s break down five watches that capture exactly why this era of digital design still feels relevant — and why they’re more than just nostalgia bait.

Casio CMD-10 — The TV Remote on Your Wrist

The CMD-10 took the living room remote, shrunk it, and strapped it to your wrist. The face? Dominated by rubberized, tactile buttons, each one with a job: volume up, channel change, power on. Pure utility, zero pretense.

Design-wise, it’s blunt, declarative, unapologetically obvious. No attempt to blend in — this was wearable tech before the term even existed, made for those who wanted to interact with the world, not just measure it.

And then there’s the colour. Bold primary hues — blue, white, red — laid out like a Mondrian painting, echoing the clarity and purpose of Bauhaus design. Not ornamental, but functional by design, with every element earning its place.

Citizen D131 — Built for the Slopes

Snow, speed, and visibility — that’s what the Citizen D131 was built for. Designed for the slopes, it even features a skiing icon front and center on the display. The split/reset and start/stop buttons are enlarged and repositioned at the top, clearly made for gloved hands, not bare fingers.

This wasn’t a watch trying to do too much — it had one job, and it did it well. No gimmicks. Just straightforward, purpose-built design, shaped by the realities of cold, speed, and movement.

The version pictured here is my favourite — a dark yellow casing, a colour that showed up across many digital watches of that era. Distinctive, practical, and a little bit bold — just like the watch itself.

Seiko S600-500B — For Triathletes

Here’s my favourite from the list: the Seiko S600-500B, built for triathlons. And triathlons are all about transition — from water, to road, to track. This watch was designed to stay out of the way, while delivering precise lap and split-time data exactly when needed.

The design is where it gets interesting. It features an asymmetric case, with the right edge curved and stamped with the word TRIATHLETE — no mistaking what this was made for. The face is decorated with primary-coloured sport icons, and once again, that era-defining dark yellow casing makes an appearance. Bold, functional, and unmistakably ‘90s.

Timex K-28 — Designed for Tides

Here’s one you don’t see often — the Timex K-28 Surf. Released around 1988 or 1989, it was built with surfers in mind, and even the branding leaned in — “50 meters wipeout resistant” replaces the usual water resistance claim. Along the top of the watch face? The phrase “Chill Factor”, a nod to its laid-back, board-ready intent.

Design-wise, two orange balls stand out, contrasted against a green face. Tt’s chunky and playful, with a two-line LCD display showing day, month, date, and six-digit time, plus chronograph, timer, alarm, and a temperature sensor. Zebug, a small orange beetle-shaped container that clipped onto the strap, came included — meant for storing sunscreen or lip balm mid-surf. It’s a quirky, hyper-functional detail that only makes sense when the object is designed around real use. Everything about this watch is a bit ridiculous, and completely era-specific — and that’s exactly what makes it great.

Citizen Soundwich — Wearable Radio

One of the more unusual pieces from this era is the Citizen Soundwich (D031), released in 1985. At a glance, it’s a large digital watch with a basic two-line LCD display showing time, date, and seconds — but its real feature was built-in AM/FM radio functionality, making it one of the earliest examples of wearable entertainment tech.

To power the radio, Citizen added a detachable battery pack on the left side of the case — a practical solution to balance bulk and usability. If you weren’t using the radio, the pack could be removed to reduce weight and size.

The Soundwich was offered in multiple colorways — including black, white, yellow, and pink — consistent with the bright, playful aesthetic of the mid-80s. Despite its size and niche functionality, the watch remains a thoughtful example of purpose-driven design, integrating emerging consumer tech into a familiar form factor.

It’s not a common piece today, but it stands out for its clear intent: offering more than just timekeeping in a compact, wearable format — a sign of the experimental energy that defined this era of watchmaking.

We’re speeding through Q1, and it’s been enough time to get a sense of where sneakers are headed this year. Truth be told, I find myself less excited about new drops—partly because I’m growing out of my sneaker phase and into other things. But that doesn’t mean I’m out of the loop. I still keep tabs on every single pair that hits the market. That said, it’s getting harder to catch my attention. Here are the five sneakers that have managed to do so this year.

1. Air Max 95

The Air Max 95 has long held a near-mythical status in Japan. When it first dropped on October 12, 1995, sneaker culture in the country was already thriving, but the AM95 was different. Its futuristic, layered design—reminiscent of muscle fibers—was polarizing at first. Priced at 15,000 yen, it wasn’t an easy sell. But once it caught on within Tokyo’s Urahara scene, demand went through the roof.

The turning point came when Japanese pop culture icons like Ryoko Hirosue and Takuya Kimura started wearing them in magazines and commercials. That kind of celebrity co-sign, especially in the ‘90s, sent resale prices soaring. What followed was something far more extreme—Air Max-Gari, or Air Max Hunting. The 95 became such a status symbol that thefts skyrocketed. Pairs were stolen from lockers, people were mugged, and even manga like Yu-Gi-Oh! referenced the craze. It reached the point where a Japanese TV show ran an experiment—sending someone into a park wearing nothing but Air Max 95s to see if they’d get robbed. The result? They did.

That’s the level of impact we’re talking about, one we rarely see in this time and age.

Strangely, I never felt drawn to the Air Max 95—until now. Living in a tropical climate, I’ve always avoided Air Max models because their midsoles tend to disintegrate over time. The AM95, with its layered panels and chunky silhouette, always felt a little too heavy for my taste. But lately, I find myself re-evaluating it. The gradient uppers, the neon accents—it still looks like something from the future. Nearly three decades later, there’s still nothing quite like it.

2. The Rocker by Satisfy

Satisfy knows how to do one thing exceptionally well: take money from my pocket. Their gear is absurdly expensive, but I never hesitate to part with my dollars. Why? Because their products are always thoughtfully designed—not just visually, but functionally.

The Rocker is their first original footwear design, following a few successful collaborations, and that alone makes it interesting. One thing I’ve learned about Satisfy is that they don’t make products that just look good; they make products that perform. The attention to detail in their apparel already sets them apart, so I can only imagine how much thought has gone into their first solo sneaker. I don’t need another running shoe, yet alone a trail one—but I also know I won’t be able to resist this one.

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There’s an ongoing tension in fashion and sneaker culture—between those who hunt for the originals and those who are happy to grab a fresh reissue. Two years ago, Shawn Stussy weighed in on the debate, arguing that his designs were meant for their moment and that true appreciation comes from finding vintage pieces, not settling for a re-release. His perspective isn’t unique. Many collectors believe that the magic of a product fades when brands reissue it too often. But is it that simple?

Reissues are a low-risk move for brands. Instead of taking a chance on new designs, they can dip into their archives, knowing nostalgia will drive sales. For companies, it’s a way to reintroduce classic products to a new generation while keeping their legacy alive. But does this constant recycling of old ideas come at the expense of innovation?

For collectors, there’s an undeniable thrill in tracking down an original piece. The hunt, the rarity, and the unique wear and aging of a vintage item add a level of personality that a brand-new reissue simply can’t replicate. Some argue that owning a vintage piece is a sign of deeper investment in the culture—proof that you put in the effort to find something with history, rather than just buying whatever is readily available.

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adidas had a good run with the Samba—the kind of good that was 90% organic marketing and dominated social media feeds. More than just a viral moment, the Samba reignited demand for low-profile sneakers, helping adidas push other archival silhouettes like the Gazelle and Spezial into the mainstream. But as with all trends, the cycle is winding down. The question is: what’s next for the Three Stripes?

For 2025, adidas Originals has set its sights on reviving an old champion: the Superstar.

The Superstar’s Last Real Moment

Few sneakers can claim as much cultural ground as the Superstar. Originally built for basketball in 1969, it became a hip-hop icon thanks to Run-D.M.C., a streetwear staple through collaborations with brands like BAPE.

But cultural relevance doesn’t always translate to commercial dominance. Despite its deep-rooted legacy, the Superstar has spent the past decade lurking in the background while Kanye West and the Samba took the spotlight for adidas.

adidas tried to ride the wave of low-profile footwear, experimenting with the Taekwondo and even the Ballerina. Now, they’re shifting focus to something bigger, louder, and harder to ignore.

The question is: can adidas manufacture another Samba moment?

adidas’ Last Attempts to Revive the Superstar

This isn’t the first time adidas has tried to force a Superstar revival.

• 2005: The 35th Anniversary Collection – This was the Superstar’s last true cultural moment. adidas went all in, releasing 35 limited-edition pairs, tapping into streetwear (BAPE, Undefeated), fashion (Neighborhood, Union), and music (Run-D.M.C., Red Hot Chili Peppers). The rollout felt authentic, playing into hype, scarcity, and cultural storytelling.

  

  
  

• 2015: Pharrell’s 50 Colors Pack – On paper, this had everything—Pharrell’s golden touch, a massive color rollout, and a global push. In reality? Minimal impact. The collection lacked the scarcity and exclusivity that made the 35th-anniversary drop a success. The Superstar was suddenly everywhere, but with no reason to buy in.

  

Now, in 2025, adidas is taking another shot—but with an entirely different strategy.

How adidas is Engineering the Superstar’s Comeback

Rather than relying on one big play, adidas is attacking from multiple angles:

• The Luxury Play: A-TYPE Superstar ($850 USD)
  adidas has entered the ultra-premium space with the A-TYPE Superstar, a handmade-in-Italy version featuring cashmere laces, silver-plated lace jewelry, and wooden shoe trees.

• The CLOT Remix: CLOT x Superstar “Formal Shoe”
  Edison Chen’s CLOT is flipping the Superstar into a formalwear piece, merging the sneaker’s DNA with elevated dress-shoe sensibilities alongside his Chinese roots

  

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• The Pharrell Experiment: Three New Shapes
  Pharrell is back with the Superstar 72, Superstar 82, and Superstar 92—each remixing the silhouette to reflect a different era of sneaker design. The Superstar 92 or Double Wide takes cues from ’90s snowboard boots, turning the Superstar into an oversized, puffy silhouette.

  

• The OG: Made in Germany
  To honour its roots, adidas takes it back to its hometown with a Made in Germany edition of the silhouette. Limited to 1,969 pairs worldwide — a nod to the year the Superstar was introduced — this edition features luxe leather and an OG-accurate shape.

  

• The JJJound edition:

These three moves are just the start of a larger strategy from adidas. By showcasing the versatility of the Superstar—from luxury craftsmanship to complete overhaul of the silhouette—it’s clear that adidas is positioning the icon as more than just a retro sneaker. This push towards elevated design and premium execution isn’t unfamiliar either; we’ve seen glimpses of this before with adidas’ collaboration with Prada.

Does Nostalgia Still Work as a Strategy?

Nostalgia used to be a foolproof strategy in sneakers for the past decade. Bring back a beloved silhouette, seed it to the right people, and watch it sell out. But does that still work in 2025?

Let’s take a quick look at adidas’ main competitor Nike. They have been trying to leverage nostalgia, but recent attempts have felt tone-deaf and uninspired. Instead of reviving past models with smart execution, the brand has misread the market, misunderstanding what made these sneakers coveted in the first place.

Nike’s Grail Revival Strategy: A Series of Misfires

• Air Max 1 icons – Reissuing Grails With No Impact
  The original Air Max 1 BRS is a grail among collectors, but the 2024 retro is on discount racks. Nike assumed the shoe’s legacy alone would carry it, without any real effort to modernize or reintroduce it in a meaningful way. The execution was lazy—no great campaign, no build-up, no cultural moment to latch onto. The result? A release that felt flat and forgettable.

  

• Wu-Tang Dunk Retro (2024) – Who Was This For?
  The 1999 Wu-Tang Dunk is one of the most elusive and revered Nike Dunks ever made—a sneaker never intended for mass release. When a "grail" of this magnitude gets reissued, as we’ll likely see with the Air Jordan IV x UNDFTD, we have to ask: Who is this for?
  

  While a handful of collectors who’ve long admired the original might appreciate it, the retro completely failed to connect with a new audience. Worse, it undermines the culture by devaluing the hunt—disrespecting those who’ve spent five figures tracking down the ‘99 pair. Some retros make sense. This one didn’t.

  

• Galaxy Foamposites (2025) – An Odd, Out-of-Touch Move
  In 2012, the original Galaxy Foamposite caused chaos. It was one of the last true camp-out, riot-worthy sneaker releases, marking an era when Foams were a cultural force.

  But in 2025, Foamposites are barely relevant—and that’s the problem. As a performance basketball shoe, the technology is outdated. That leaves lifestyle appeal, but even there, its global footprint is minimal. On top of that, the Foamposite is an expensive sneaker, making it even harder to justify.

  So the real question is: Can the Foamposite be forced back into trend? Or is it simply past its time?

The Superstar’s return isn’t just about nostalgia—it’s a test of whether adidas can dictate culture or if culture still dictates adidas. If the brand can reposition the Superstar in a way that feels fresh, relevant, and aligned with where sneaker trends are headed, it has a chance. But if this is just another boardroom-driven attempt to manufacture hype, it risks fading into the background like so many forced revivals before it.

Can a Trend Be Manufactured?

adidas wants 2025 to be the year of the Superstar, but can a sneaker revival be orchestrated, or does culture have to decide? The Samba’s rise felt organic, aligning with a broader shift in style. The Superstar, by contrast, is being positioned from multiple angles—luxury, high fashion, experimental remixes—but will any of them stick?

Backpacks come in different forms and shapes—some are hybrids, some are pure backpacks, and each serves a different purpose. Lately, I’ve been reminded of what makes a good bag.

Back when I was interning at Highsnobiety, I brought home a hybrid duffle backpack from Incase’s Diamond Wire collection from 2018. That was seven years ago, and I still use it today. It holds enough for a weekend trip, fits perfectly as a carry-on, and has a user interface that just works. No gimmicks—just a well-designed, intuitive bag that has stood the test of time. It featured a three-layer rip-stop nylon that is extremely lightweight while offering ultimate durability. Water-resistant zippers provide additional exterior protection.

That got me thinking: if I were to add another bag to my rotation, or replace my Incase, what would it be? These five have been on my mind.

1. Arc'teryx Arro 22

The Arro 22 is a staple in technical backpacks. Its iconic curved shape, waterproof fabric, and compact 22L size make it the ideal daily pack. The rigid back panel and structured shape ensure that it never feels sloppy, while the kangaroo pocket remains one of the most efficient storage solutions.

The Arro 22 is as at home on a rainy city commute as it is on a day hike. The inner streetwear head in me is currently looking at past Beams releases which can be found at retail prices or less.

Price: ~$200-300 USD

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Collabs have become lazy. Same sneaker, new colorway, celebrity co-sign. But Song for the Mute is reminding us what it means to push out a meaningful collaboration. The Australian brand isn’t just tweaking old adidas silhouettes—it’s infusing them with its own world, turning each sneaker into an artifact, not just a product. Known for its avant-garde sensibilities and deeply personal storytelling, SFTM has redefined what it means to collaborate—not just with adidas, but within the sneaker industry as a whole.

Redesigning Beyond Colourways

Founded by Melvin Tanaya and Lyna Ty, Song for the Mute (SFTM) has always been the outsider. Their collections draw from personal memories, family ties, and the textures of everyday life. Their partnership with adidas follows the same ethos, bringing distortion, reconstruction, and reimagination to the table.

Take their first collaboration in 2022 — a series of footwear and apparel that blurred the line between utility and art. The Shadowturf bore unmistakable SFTM DNA, with unconventional materials, tactile finishes, and subtle details that rewarded those who looked closer. They didn’t just design sneakers; it felt like something excavated from a distant memory.

Even in 2024, their Country and Adistar Cushion reworks are less about redesigning and more about reframing—turning historical silhouettes into tactile, emotional objects.

A League of Its Own

In the crowded space of adidas collaborations, what makes SFTM special is their ability to merge their world with adidas’ heritage, resulting in something entirely new. They don’t just tweak existing silhouettes or slap on a logo—they infuse their philosophy into every detail. It’s this thoughtful approach that makes their collaborations memorable—not just as products but as creative expressions. We can clearly see this in their 2024 projects where they have reworked some adidas classics like no other brand has.

adidas’ Collaborative Landscape: A New Balance?

SFTM’s success comes at a time when adidas has been redefining its collaborative strategy. With the loss of Kanye West, one of the most culturally influential figures in sneakers, many wondered if adidas could maintain relevance in the space. Fear of God was supposed to be adidas’ next big cultural force—but it hasn’t hit. Not because Jerry Lorenzo lacks vision, but because Fear of God isn’t the movement it once was.

The truth is, adidas doesn’t need another Kanye. The brand has shifted to a more balanced, diverse roster of collaborators who speak to different audiences. Bad Bunny, for instance, has carved out a lane in Latin culture and global pop, while Sean Wotherspoon and Wales Bonner bring their own distinct aesthetics to the table.

This strategy—of amplifying niche voices rather than relying on a single megastar—has allowed adidas to expand its cultural footprint. Collaborations with Prada, Gucci, and Balenciaga offer high-fashion appeal, while SFTM proves that even a smaller, indie label can have a massive creative impact.

The Future Belongs To The Thoughtful

Looking ahead, SFTM’s upcoming designs are already generating buzz. Early leaks suggest they’ll continue to push boundaries, blending the brand’s avant-garde sensibilities with adidas’ rich history. As the industry trends toward storytelling and deeper connections with consumers, SFTM feels perfectly positioned to lead this charge.

adidas’ collaborative portfolio may not have the singular cultural juggernaut it once did, but it’s better for it. With partners like Bad Bunny, Song for the Mute, and Wales Bonner, the brand is proving that diversity in voices creates a stronger, more enduring cultural resonance.

In a landscape where collaborations often feel disposable, Song for the Mute is showing that thoughtfulness and authenticity still matter. And for adidas, that might just be the best partnership decision they’ve made in years.

I spent 2024 living on a tropical island — call it a sabbatical. With that change in pace, I also stepped back from my usual consumer habits, which, if I’m being honest, felt overdue. But that doesn’t mean I stopped entirely. You don’t just turn off years of chasing good design and well-made things.

If anything, the shift made me more intentional. I wasn’t buying for the sake of it—I was buying because something truly added to my life. And now, speeding through 2025, I find myself appreciating those pieces even more. So here’s a list, not of the trendiest or most hyped things, but of the ones that, in some way, brought me actual joy.

1. Not Paper (Ceramic) Cup by Puebco

What a fun product that I interact with daily. Founded by Hirotaka Tanaka in 2007, Puebco crafts unique lifestyle items from upcycled and found materials, infusing each piece with a distinct sense of history and character. Puebco values the uniqueness of imperfections, viewing them as intentional and integral to the design, enhancing the individuality of each creation.

The Not Paper Cup is exactly what it says it is—a ceramic cup designed to look like a disposable paper cup. It also comes in two other versions, one meant for ice cream and another for instant noodles. What makes this fascinating is how a playful object can subtly shift behaviors. There's an irony in a permanent version of something meant to be thrown away, forcing a rethink of our relationship with everyday objects.

2. Track Pack 40 Elite by On

On has established itself as one of the top sportswear brands in recent times. From winning the hearts of everyday people and Wall Street bros alike, On actually creates very good products and is increasingly carving out distinct niches that cater to everyone. Their partnerships with Post Archive Faction and Zendaya have also been on point.

I purchased the Track Pack 40 from On's first range of bags. At 40L, it’s big enough for weekend trips but doesn’t feel excessively large for daily use. The large front pocket with a roll top can store workout clothes or smaller items. The padded laptop sleeve and trolley pass-through have made this my go-to travel bag. Swiss Seil handles add a unique design touch. Also worth noting: On products are cheapest in Japan and Australia, by around 20-30%.

3. Custom Cap by AKLA

AKLA is an independent cap maker from Switzerland who creates functional works of art using top-tier fabrics like Dyneema and various kinds of ripstop nylon. His color work is fantastic, and it’s always fun collaborating with designers to create a unique product. Having the ability to tailor a piece to my exact preferences made this cap feel truly special. I’ll have an in-depth interview with him coming soon, so stay tuned.

4. Waimea H2 Sandal by Keen

Never would I have thought I'd include a flip-flop in any kind of best list, but here we are. What fascinates me about the Waimea is how Keen managed to reinvent the quintessential flip-flop. Updated with a toe guard, it feels more aesthetic than functional, but where it truly shines is in its ability to give confidence to those who may be insecure about their feet.

At the same time, it elevates the ‘coolness’ of a flip-flop, making it easier to style for more proper occasions. Let’s not forget: these are extremely supportive, and I’d stock up on another pair in a heartbeat.

5. The Masked Checked Anorak by Umbro and Slam Jam

I don’t really chase products that fall under the "hype" category, but I’ll make an exception for this. Slam Jam has helped Umbro make an incredible comeback with its "Penalty Culture" project, blending Umbro’s heritage in football with current football-inspired streetwear trends. The end result is a collection ready for the streets.

This anorak is perhaps the standout piece. It includes a mask hidden within the hood—something I know I’ll never use—but the fit has been extremely versatile. It’s thin enough to wear as a layering piece, yet structured enough to stand alone. It carries that perfect balance between nostalgia and modernity, making it a gem in my wardrobe.

Final Thoughts

2024 may not have been the most groundbreaking year for fashion and sneakers, but moments of joy still existed in the details. It wasn’t about industry-shaking releases or high-profile collaborations—it was about thoughtful, well-executed products that added something meaningful to my life. A year of buying less made me appreciate great design more. These weren't just purchases; they were quiet investments in daily joy. And that’s the real win.

Nike is pulling out all the stops for the Air Jordan 1’s 40th anniversary. The brand’s latest campaign, UNBANNABLE, isn’t just a tribute—it’s a spectacle, designed to reignite one of sneaker culture’s most enduring myths. But in an era where consumers are more fragmented than ever, does legacy hype still hold weight?

The Banned Story, Retold

You know the tale. The Air Jordan 1 was banned by the NBA, and every time Michael Jordan wore it, he was fined. Nike, ever the rebel, turned this into one of the most iconic sneaker narratives of all time. It’s a story we’ve heard before—but in 2024, Nike is telling it again with a fresh twist.

The Campaign’s Five Phases

Nike didn’t just release a shoe; they rolled out a multi-phase experience.

+ Erasing the Past

Jordan Brand wiped its Instagram clean—every post deleted, resetting history.

+ Censoring the AJ1

A black rectangle was placed over the shoe in official images, a callback to its original "banned" status. In Chicago, even the iconic Jordan statue was covered with the same black box, bringing the visual to life.

+ Bringing in ‘The Nike Suit’

Enter Lawrence H., a fictional character handing out citations to Nike employees for wearing Jordans—an odd but amusing addition to the campaign.

+ The Celebrity-Stacked Photoshoot

A black-and-white shoot featuring Travis Scott, Jackson Wang, DJ Khaled, Hiroshi Fujiwara, Chris Union, and others, reinforcing the UNBANNABLE theme.

+ Reverse Engineering the Original AJ1

To achieve true 1985 accuracy, Jordan Brand dissected vintage pairs, stripping them for parts. The nylon tongue was even chemically analyzed to recreate its exact composition.
"We had a few members of the design team that put their pairs up for sacrifice," said Jordan Product Director Jason Grisby.

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The Loophole That Brands Can’t Afford to Ignore

Arc’teryx has never officially launched in Indonesia. Yet, a gleaming Arc’teryx-branded store has opened in one of Bali’s most high-profile malls — Kuta Beachwalk — with another reportedly on the way in Jakarta. An Arc’teryx representative confirmed via email that the brand does not currently operate in Indonesia and that legal measures are being taken.

At first glance, calling these stores and their products “fake” seems like the natural response. But legally, in the eyes of the Indonesian government, they aren’t counterfeit— they’re a registered brand. That’s why the term unauthorized is more accurate here, and it’s what I’ll be using going forward.

But the deeper issue isn’t just about one rogue retailer—it’s about a system that allows this to happen in the first place.

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Hey there, it’s Tim, and welcome to +iny Dispatch.

If you’re reading this, you probably know me from Instagram or my work with Hartcopy. Or maybe even from my early days of intense sneaker collecting. I’ve spent more than a decade obsessing over and writing about sneakers and culture—whether professionally at Highsnobiety and Hypebeast or personally on my own platforms. I figured it was time to bring those thoughts here.

This newsletter is a space for unfiltered takes on footwear and the industry at large. No press releases, no corporate fluff—just real opinions, insights, and the occasional deep dive into things I find interesting.

What to Expect from +iny Dispatch

+iny Dispatch will be a twice-weekly newsletter with a single membership tier:

Standard: $70/year or $6.99/month

Here’s what I’ll be covering:
✅ Opinions on brands, products, and releases
✅ Product guides
✅ Links to curated sales featuring products I’d buy myself
✅ Interviews with brand owners, designers, and creatives
✅ Behind-the-scenes looks at fashion weeks, travels, and more

I’m keeping this completely ad-free, relying on subscriptions to keep it running. Down the line, I may earn commission from curating product lists, but I promise these will only be products I’d spend my own money on.

If that sounds like something you’d be into, stick around. And if you have thoughts, just hit reply—I’d love to hear them.

Tim