Flicking through Neal Heard’s excellent A Lover’s Guide to Football Shirts you’ll see a lot of gems and many of them are Le Coq Sportif creations — the 1983 A.S. Monaco shirt with the Bally sponsorship being a great example. The joy of flipping through a book like that is seeing the curious eccentricities that players wore in front of the baying masses and realising that some designs I hated in the 1990s have aged well in their audacity, with contemporary, skin-tight, referential, remixed, tactically homaged pieces from high-profile designer lacking any of that same magic. Continue reading BRAND NUBIAN, COVENTRY, BOURNEMOUTH & CHESTER CITY


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I wrote some Euro-centric stuff about Gazelles that Complex kindly published. You can read it RIGHT HERE. Naturally, I rambled on and some stuff had to be cut, so I stuck it here. Deleted paragraphs in a deleted scenes style. I’ve never actually liked the Gazelle much beyond that 1991-1997 era, but I can understand the appeal and its popularity is significant. This is my last shoe history thing for a while because I’m starting to bore myself.

“For legions of young Brits in the early 1980s, adidas shoes were something of a rite of passage. In the north of England, a version of the original Gazelle was fairly easily attainable and affordable. A frequently updated, narrow, black multi-purpose soccer shoe called the Samba — originally introduced in 1950 — and a nondescript soccer shoe called Kick were the original moment in adidas for many, so the colored suede was still considered something exotic, despite its 14 year existence. For a more advanced crowd, there were Jeans, Trimm-Trab and the elusive Forest Hill tennis shoe, but the Gazelle was a safe choice.”

“Throughout the decade, versions were made in a variety of factories, and as footwear design became a blitz of big bubbles, cut-out bars and gimmickry, the UK’s rare groove scene and its offspring, acid jazz — a culture built on musical rarities, funk and dancing, with a fair amount of peripheral posing around the dance floor, sparked an interest in “old school” footwear, that, when applied to the Gazelle, was a literal term for many.

At the start of the 1990s, the Beastie Boys’ experimental return to popularity saw them wearing some of the shoes they’d been wearing back in their earliest Def Jam days. Mike D invested in the Los Angeles based X-Large store that opened in late 1991, which stocked old suede adidas and PUMA pieces around its launch. The Gazelle was part of that dusty inventory. An underground-again skate world was becoming a world of intricate flip-tricks, 40mm wheels and vast pants, and the Gazelle was a popular shoe for skating in for a short while (razored off stripes optional) alongside Superstars and PUMA Clydes. Check out World Industries’ seminal Love Child video from 1992 for a snapshot of that era, with Jed Walters wearing a pair particularly well.”

“Between 1995 and 1997, the popular JD Sports chain, now something of a British institution, put out plenty of Gazelle and Samba special makeups, as did other territories. Japan had its own independent license up to 1998 and Argentina and South Korea’s license holders held theirs until the very early 2000s, meaning coveted rarities from around that time like rare made in Japan variations. After that heyday of just three editions on the market, a Gazelle collector could get a whole new range of colourways — black and golds, blue and greens or palettes reminiscent of West Ham United’s claret and blue, or the Los Angeles Lakers’ purple and gold.

Then there was the Gazelle 2. The bulking of the shoe for this sequel was most likely a response to an American audience’s demands, as was the case with Stan Smith and Campus follow-ups. That version — a big box retailer bestseller for years — had inflated the nuances and lines enough to diminish appeal.

From that point, it’s hard to fathom a time when the Gazelle wasn’t on a shelf somewhere. As older variations returned as Originals in the 2000s after its inception in 2001, adidas’ skate line debuted a skate version of the shoe in 2007. Nodding back to the model’s skateboard legacy, this version used tougher suede, increased the padding a little and altered the eyelets for team riders like Dennis Busenitz. Ahead of this summer’s 1990s Gazelle renaissance, an unexpected appetite for the silhouette became apparent in 2014 when Richard Nicoll sent his menswear models down the catwalk in the shoe and Giles Deacon put specially commissioned makeups of the shoe in his show.”

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zoom spiridon 1997

I meant to up this here yesterday, but the gloom of being too slow and old with the keyboard to buy the Zoom Spiridon when it rereleased the other day dampened my spirit. Going forward, I might post more shoe-nerd bits here in this vein, though the cult of reposting and my own laziness might stop me doing that.

There’s something about the Zoom Spiridon that two solid reissues hasn’t dampened.

Released in 1997, promoted by Michael Johnson, and named after Greek runner Spyridon Louis — winner of the first modern-day Olympic marathon in 1896 — it’s a lightweight training model and a fan favourite from a golden age of design. It wasn’t the first Nike shoe to carry that name either — around 1984, there was a gold swoosh racing shoe called the Spiridon in the line that was followed by the Spiridon Gold a few years later. Continue reading SPIRIDON-DADA: A TRIBUTE TO A CULT CLASSIC



Rizzoli releases The Carhartt WIP Archives in October. As someone who grew up preoccupied with duck fabric in that shade of brown and paused Yo! MTV Raps trying to work out what the brand with the ‘C’ on the path was and who the heck made those weird half zip shirts with the monkey on the pocket, it holds a very particular place in my heart. With those vivid memories of days when I believed Carhartt and Ben Davis were just very conservative-looking hip-hop brands still etched into my psyche it was an honour to get the opportunity to contribute a little something for this book. The company’s European history is very deep indeed.


Taken from the Lo Life History

As I wait for Thirstin Howl the 3rd and Tom Gould’s Bury Me With the Lo On book I figured I’d look around for some other Polo-related gems online and the Lo Life Brand’s History section is incredible. The Lo Life clothing brand gives me mixed feelings in that I wonder if the Lo Lifers of old would have clowned any contemporaries for wearing a tribute brand the same way that Beverly Hills Polo Club gear would have gotten you crucified, but if anybody is going to make money from homaging that iconography, it may as well be Thirstin and friends, seeing as they’re key to popularising Lauren’s output in a streetwear context. Plus, I doubt that the crew saw a cent from the product that they helped sell to a local and global audience that the company itself couldn’t reach. Having kept their clippings throughout the years, the existence of a Lo Life cap back in the early 1990s as part of a student design competition is an interesting addition to their history, plus all those Source articles are in the mix too. I’d never seen the newspaper stories from 1992 back when Lo Lifes were being discussed with emphasis on gang status rather than the contents of their wardrobes, but they’re up on the site too. Go check it out HERE.



A few weeks ago I covered the Converse All Star Modern launch for 032c and we had to leave out a fair chunk of historical talk regarding the Converse All Star. Seeing as it’s such an important design (whether you care much for shoes or not), here’s the part of the rough draft that was excised. As always with these kinds of things, I encourage all feedback and corrections. It still blows my mind that this shoe is a century old next year.

Converse’s in-house archivist Sam Smallidge is deeply enthusiastic about the All Star and the brand that made it despite no previous inclination towards athletic footwear. Having previously been an Ernest Hemingway Collection Intern at the John F. Kennedy Presidential Library, trading Papa for Chuck has been a new outlet for his love of discovery for research, “My favourite part of the job is joining the dots — my personality type is getting obsessed with whatever collection I’m working on to obsessive detail.Continue reading A BRIEF HISTORY OF THE CONVERSE ALL STAR