“95”: A Photo Book That Elevates the Air Max 95 to Global Icon Status

“95”: A Photo Book That Elevates the Air Max 95 to Global Icon Status

Sneakers are more than objects we wear. Some become monuments — pieces of memory, identity, and culture that live in cities, communities, and moments. The “95” book, produced by Something Special Studios in collaboration with Nike SNKRS, is one of those projects: a visual ode to the Air Max 95, told through the eyes of four photographers across the globe.

“95” is not a catalog. It’s not just product photography. It’s a narrative — stitched from daily rituals, street stories, cityscapes, and personal portraits — all anchored by the silhouette, presence, and meaning of the Air Max 95.
The photographers—Finlay Flint, Rlswyze, Justin Cole Smith, and Jack Rudder—each anchor their chapters in London, Tokyo, Los Angeles, and Newcastle (Australia). Through their lenses, the 95 becomes more than a shoe: it becomes a counterpart to lives lived in those cities. 

The book studies and analyzes what the iconic sneaker means. In London, for Flint, it’s woven into creative identity, friendships, the visible and hidden streets they inhabit. In Tokyo, Rlswyze frames the 95 as part of the city’s shifting layers — neon, memory, pace. In Los Angeles, Justin Cole Smith captures intimate spaces where the 95 surfaces amid personal narratives. In Newcastle, Jack Rudder documents it in the context of underground scenes: music, DIY culture, grit.

In a sneaker world often driven by drops and hype, “95” stands apart. It’s not about what’s next — it’s about what is, what has been, and what persists. It’s a reminder that a sneaker can carry culture, emotion, and memory. The Air Max 95 is no longer just a model — through this book, it becomes lens, symbol, and companion across the streets of the world.

Unfortunately we don't have the book, we managed to snag some pictures through a store friend, and thought it was 100% worth sharing. Enjoy the hunt while searching for this gem, we'll be on the lookout for any copies! 

But, if you're feeling inspired, check out the collection of Air Max 95's we have available now! 

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O Marisquiño 2026 Vigo, Once Again

O Marisquiño 2026 Vigo, Once Again

For four days in August, Vigo becomes something slightly different. The beaches, streets and squares of the city turn into one enormous meeting point for skateboarding, BMX, MTB, breaking, basketball, music and everything that exists somewhere around the edges of traditional sport.  Now in its 26th edition, O Marisquiño has grown into one of Europe's most important gatherings of action sports and urban culture, bringing together around 1,500 riders from more than 30 countries alongside artists, musicians and tens of thousands of spectators.  What makes Marisquiño interesting is the way it has managed to remain connected to the culture that created it while growing into something considerably bigger. Samil becomes the centre of gravity, while Vigo itself becomes part of the event, most visibly through the MTB Downtown descent that sends riders from O Castro down towards A Laxe, turning the city into a course rather than simply a backdrop. And then there are the people who have been around long enough to understand exactly what all of this means. One of them is, undeniably, Dave Duncan. For anyone who grew up around skateboarding, his presence at Marisquiño is a significant one. Duncan started skating in Southern California as a child in the late 1960s, lived through the early generations of the Californian skate scene, became a professional skater and worked alongside names including Tony Alva before moving into course building, judging, event management and commentary. He eventually became one of the defining voices of World Cup Skateboarding, a role he has held for decades. His connection with Vigo goes back even further. Duncan first came to Marisquiño in 2014 as a World Cup Skateboarding speaker and has returned year after year since, becoming almost as much a part of the festival as the ramps themselves. Seeing someone whose own career runs parallel to so much of skateboarding's history standing beside a new generation of riders is one of those details that makes Marisquiño feel different. The culture doesn't disappear as it grows. It gets passed down. On the iconic Samil Miniramp, Danny León once again found himself at the top. The Olympic skater took his eighth victory in the discipline, bringing his total number of Marisquiño titles to an extraordinary 10. His winning final run saw him float across the ramp with the kind of control that has made him one of the defining figures of Spanish skateboarding. Dutchman Jason Lijnzaat finished second, with Japan's Sota Tsuji taking third. But León's weekend wasn't limited to the official competition. Together with his own Piranha Skate Company, he hosted the first edition of the Piranha Ñam Session, an open Vert Jam built around attitude, creativity and the connection between riders and the crowd rather than a conventional ranking system. €1,000 in prize money and technical equipment were handed out, turning the session into something closer to a celebration of skateboarding than a competition. Elsewhere, Vigo's own Saúl Vilar took the BMX Pro Street title, while Colombia's Juan Caicedo won Pro Park Men and France's Lera Liubimova took the women's category. Portuguese youngster Pascal Teixeira and Valentina Krauel claimed the men's and women's Street titles, while Sietse Van Berkel repeated his BMX Flatland victory. The Big Air ramp at Samil provided one of the weekend's most spectacular sights. Riders launched more than 10 meters into the air, combining backflips, spins and increasingly complicated variations for a format built around one simple question: who can do something nobody else has done? Among the names in the mix was New Zealander Jed Mildon, one of the most accomplished BMX riders in the history of the discipline, alongside Spanish riders including Bienvenido Aguado, Alejandro Alcojor and Carolo Dirt. Adrien Loron returned to win the MTB Downtown for another year, racing 1,135 metres downhill from O Castro towards A Laxe, while Chile's Fernanda Gildemeister claimed the women's title. The route is one of Marisquiño's most distinctive ideas: take a discipline normally associated with mountains and trails and drop it directly into the middle of Vigo. The same spirit carried through the rest of the program. 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And then there are the people who have been around long enough to understand exactly what all of this means. One of them is, undeniably, Dave Duncan. For anyone who grew up around skateboarding, his presence at Marisquiño is a significant one. Duncan started skating in Southern California as a child in the late 1960s, lived through the early generations of the Californian skate scene, became a professional skater and worked alongside names including Tony Alva before moving into course building, judging, event management and commentary. He eventually became one of the defining voices of World Cup Skateboarding, a role he has held for decades. His connection with Vigo goes back even further. Duncan first came to Marisquiño in 2014 as a World Cup Skateboarding speaker and has returned year after year since, becoming almost as much a part of the festival as the ramps themselves. Seeing someone whose own career runs parallel to so much of skateboarding's history standing beside a new generation of riders is one of those details that makes Marisquiño feel different. The culture doesn't disappear as it grows. It gets passed down. On the iconic Samil Miniramp, Danny León once again found himself at the top. The Olympic skater took his eighth victory in the discipline, bringing his total number of Marisquiño titles to an extraordinary 10. His winning final run saw him float across the ramp with the kind of control that has made him one of the defining figures of Spanish skateboarding. Dutchman Jason Lijnzaat finished second, with Japan's Sota Tsuji taking third. But León's weekend wasn't limited to the official competition. Together with his own Piranha Skate Company, he hosted the first edition of the Piranha Ñam Session, an open Vert Jam built around attitude, creativity and the connection between riders and the crowd rather than a conventional ranking system. €1,000 in prize money and technical equipment were handed out, turning the session into something closer to a celebration of skateboarding than a competition. Elsewhere, Vigo's own Saúl Vilar took the BMX Pro Street title, while Colombia's Juan Caicedo won Pro Park Men and France's Lera Liubimova took the women's category. Portuguese youngster Pascal Teixeira and Valentina Krauel claimed the men's and women's Street titles, while Sietse Van Berkel repeated his BMX Flatland victory. The Big Air ramp at Samil provided one of the weekend's most spectacular sights. Riders launched more than 10 meters into the air, combining backflips, spins and increasingly complicated variations for a format built around one simple question: who can do something nobody else has done? Among the names in the mix was New Zealander Jed Mildon, one of the most accomplished BMX riders in the history of the discipline, alongside Spanish riders including Bienvenido Aguado, Alejandro Alcojor and Carolo Dirt. Adrien Loron returned to win the MTB Downtown for another year, racing 1,135 metres downhill from O Castro towards A Laxe, while Chile's Fernanda Gildemeister claimed the women's title. The route is one of Marisquiño's most distinctive ideas: take a discipline normally associated with mountains and trails and drop it directly into the middle of Vigo. The same spirit carried through the rest of the program. Poema de Mar won the men's FIBA 3x3 Lite Quest, 3G Valladolid took the women's title, and the event also included breaking, adaptive skateboarding and BMX, FMX and DJ competitions. Because music has become just as important to the identity of Marisquiño as the sports themselves. This year, more than 40 artists performed across four stages, with the program moving between rap, trap, pop, reggae, dub, electronic music and the sounds of Galicia and Portugal. L0rna, El Virtual and Fresquito y Mango were among the names leading the programme, joined by artists and projects including VVV (Trippin' You), Nusar3000, Rebeliom do Inframundo, High Paw, Lidia India and Luv Messenger Sound.  The festival also hosted the Iberian final of DMC, bringing some of the best DJs from Spain and Portugal to Vigo for a competition that sits firmly within the history of hip-hop culture and turntablism. 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Kobe Bryant's Second Home New York. Barcelona. Performance.

Kobe Bryant's Second Home New York. Barcelona. ...

This latest trio of releases, the Air Force 1 Low Protro "NYC," the FC Barcelona x Kobe Dunk Low Protro, and the long-awaited return of the Kobe 3 Protro captures three different sides of his legacy. Three cities. Three moments. One relentless pursuit of greatness. Growing up in Italy while his father played professional basketball, football wasn't something Kobe discovered later in life. It was part of his upbringing. Long before he entered the NBA, weekends revolved around Serie A, European football and a culture where the game extended far beyond ninety minutes. That appreciation never disappeared. If anything, it only grew stronger. Among all the clubs he admired, one always stood apart. FC Barcelona. Kobe wasn't simply a supporter from afar. Over the years, he developed genuine friendships with figures like Ronaldinho, Andrés Iniesta, Gerard Piqué and later Neymar. Every summer seemed to bring another visit to the Ciutat Esportiva, another training session, another jersey exchange, another photograph inside Camp Nou. Barcelona wasn't a publicity stop. It was somewhere he genuinely loved spending time. What attracted him wasn't just the football. It was the philosophy. For years, Barça represented one of the purest expressions of collective excellence in world sport. Movement over individuality. Precision over spectacle. Endless repetition until perfection became instinct. Sound familiar? It's difficult not to draw parallels with Kobe himself. His approach to basketball was built on the exact same foundations. Thousands of repetitions. Constant refinement. Obsessing over the smallest details while everyone else focused on the obvious ones. The famous Mamba Mentality didn't exist in isolation. It shared the same DNA as Barça's philosophy. That connection makes the FC Barcelona x Kobe Dunk Low Protro feel incredibly authentic. Rather than forcing basketball and football together for the sake of collaboration, Nike is celebrating a relationship that already existed. The club wasn't chosen because it looked good on a sneaker. It was chosen because it meant something to Kobe. The color palette immediately recalls Barça's identity, while subtle references throughout the design acknowledge a partnership built on mutual respect rather than marketing. It's less about branding. More about belonging. Alongside it arrives the Air Force 1 Low Protro "NYC." If Barcelona represented Kobe's curiosity, New York represented his competitive fire. Few arenas brought out the best in him like Madison Square Garden. It was there, in 2009, that he delivered one of the defining performances of his career, dropping 61 points against the Knicks in what remains one of the Garden's greatest individual displays. The Protro treatment updates one of Nike's most recognizable silhouettes, quietly blending heritage with modern performance—the very balance Kobe always demanded from his own footwear. Completing the collection is the return of the Kobe 3 Protro. Originally introduced in 2007, the Kobe 3 pushed Nike Basketball into unfamiliar territory. It stripped away unnecessary weight, emphasized responsiveness and continued Kobe's pursuit of making basketball footwear feel more like an extension of the athlete than a piece of equipment. Nearly twenty years later, the silhouette returns with modern performance updates while remaining remarkably faithful to the original design. It's a reminder that many of the ideas now common across basketball footwear started with Kobe asking uncomfortable questions. Why does a basketball shoe have to be heavy? Why can't it move like a football boot? Why can't performance feel invisible? Viewed together, these three releases tell a much bigger story than a collection of sneakers. The Kobe 3 Protro celebrates the innovator. The Air Force 1 "NYC" celebrates the competitor. The FC Barcelona Dunk Low Protro celebrates the student—the athlete who looked beyond basketball, borrowing ideas from football, movement and one of the greatest sporting institutions ever built. That's what made Kobe different. He didn't just study the game he played. He studied greatness wherever he found it. And few places embodied that pursuit quite like Barcelona.

Lees verder

Kobe Bryant's Second Home New York. Barcelona. ...

This latest trio of releases, the Air Force 1 Low Protro "NYC," the FC Barcelona x Kobe Dunk Low Protro, and the long-awaited return of the Kobe 3 Protro captures three different sides of his legacy. Three cities. Three moments. One relentless pursuit of greatness. Growing up in Italy while his father played professional basketball, football wasn't something Kobe discovered later in life. It was part of his upbringing. Long before he entered the NBA, weekends revolved around Serie A, European football and a culture where the game extended far beyond ninety minutes. That appreciation never disappeared. If anything, it only grew stronger. Among all the clubs he admired, one always stood apart. FC Barcelona. Kobe wasn't simply a supporter from afar. Over the years, he developed genuine friendships with figures like Ronaldinho, Andrés Iniesta, Gerard Piqué and later Neymar. Every summer seemed to bring another visit to the Ciutat Esportiva, another training session, another jersey exchange, another photograph inside Camp Nou. Barcelona wasn't a publicity stop. It was somewhere he genuinely loved spending time. What attracted him wasn't just the football. It was the philosophy. For years, Barça represented one of the purest expressions of collective excellence in world sport. Movement over individuality. Precision over spectacle. Endless repetition until perfection became instinct. Sound familiar? It's difficult not to draw parallels with Kobe himself. His approach to basketball was built on the exact same foundations. Thousands of repetitions. Constant refinement. Obsessing over the smallest details while everyone else focused on the obvious ones. The famous Mamba Mentality didn't exist in isolation. It shared the same DNA as Barça's philosophy. That connection makes the FC Barcelona x Kobe Dunk Low Protro feel incredibly authentic. Rather than forcing basketball and football together for the sake of collaboration, Nike is celebrating a relationship that already existed. The club wasn't chosen because it looked good on a sneaker. It was chosen because it meant something to Kobe. The color palette immediately recalls Barça's identity, while subtle references throughout the design acknowledge a partnership built on mutual respect rather than marketing. It's less about branding. More about belonging. Alongside it arrives the Air Force 1 Low Protro "NYC." If Barcelona represented Kobe's curiosity, New York represented his competitive fire. Few arenas brought out the best in him like Madison Square Garden. It was there, in 2009, that he delivered one of the defining performances of his career, dropping 61 points against the Knicks in what remains one of the Garden's greatest individual displays. The Protro treatment updates one of Nike's most recognizable silhouettes, quietly blending heritage with modern performance—the very balance Kobe always demanded from his own footwear. Completing the collection is the return of the Kobe 3 Protro. Originally introduced in 2007, the Kobe 3 pushed Nike Basketball into unfamiliar territory. It stripped away unnecessary weight, emphasized responsiveness and continued Kobe's pursuit of making basketball footwear feel more like an extension of the athlete than a piece of equipment. Nearly twenty years later, the silhouette returns with modern performance updates while remaining remarkably faithful to the original design. It's a reminder that many of the ideas now common across basketball footwear started with Kobe asking uncomfortable questions. Why does a basketball shoe have to be heavy? Why can't it move like a football boot? Why can't performance feel invisible? Viewed together, these three releases tell a much bigger story than a collection of sneakers. The Kobe 3 Protro celebrates the innovator. The Air Force 1 "NYC" celebrates the competitor. The FC Barcelona Dunk Low Protro celebrates the student—the athlete who looked beyond basketball, borrowing ideas from football, movement and one of the greatest sporting institutions ever built. That's what made Kobe different. He didn't just study the game he played. He studied greatness wherever he found it. And few places embodied that pursuit quite like Barcelona.

Lees verder
Karhu Fusion 2.0 Returning to Where It All Began

Karhu Fusion 2.0 Returning to Where It All Began

There are brands that spend decades chasing the next big thing. Then there are brands that simply look backwards. Not out of nostalgia, but because they already know where their strongest ideas came from. For Karhu, that place is 1996. The Fusion 2.0 isn't a modern reinterpretation of a classic runner. It is, quite literally, the continuation of one. Originally introduced during one of Karhu's most technically ambitious periods, the Fusion represented everything performance footwear stood for during the mid-nineties: sculpted midsoles, layered construction and bold proportions that prioritized function over minimalism. Nearly twenty years later, Karhu returned to the archives. Not to redesign the silhouette. To preserve it. The Fusion 2.0 was developed alongside the original designer, ensuring the proportions, panel layout and overall stance remained remarkably faithful to the 1996 model. Rather than updating the shoe for contemporary tastes, Karhu allowed the original DNA to speak for itself. Sometimes, restraint is the strongest design decision. The colorway seen here embodies exactly that philosophy. White leather forms the foundation, interrupted by deep forest green underlays, matching webbing and subtle grey accents throughout the collar and outsole. It feels unmistakably Nordic. Clean, practical and quietly confident. Nothing is exaggerated, yet every colour has a purpose. Perhaps that's why it has become one of the silhouette's defining makeups. This isn't another seasonal reinterpretation or collaboration-exclusive palette. It's one of the original Fusion 2.0 colorways that accompanied the model's return in 2015, acting as a bridge between Karhu's archives and a new generation discovering the brand for the first time. That sense of authenticity is difficult to manufacture. It has to be earned. Looking at the Fusion 2.0 today, it's easy to understand why the silhouette continues to resonate. While many archive runners from the nineties have been simplified or modernized, the Fusion embraces the era it came from. The layered construction remains intact. The sculptural midsole still carries the weight and presence expected from performance footwear of the period. Even the proportions feel refreshingly honest in a landscape increasingly dominated by overly refined retros. It isn't trying to look vintage. It simply is. For Karhu, revisiting the archive has never been about reproducing history for the sake of sentimentality. It has always been about recognising that good design doesn't have an expiry date. The Fusion 2.0 proves exactly that. Nearly thirty years after the original first appeared, it still feels relevant, not because it followed trends, but because it never needed to.  

Lees verder

Karhu Fusion 2.0 Returning to Where It All Began

There are brands that spend decades chasing the next big thing. Then there are brands that simply look backwards. Not out of nostalgia, but because they already know where their strongest ideas came from. For Karhu, that place is 1996. The Fusion 2.0 isn't a modern reinterpretation of a classic runner. It is, quite literally, the continuation of one. Originally introduced during one of Karhu's most technically ambitious periods, the Fusion represented everything performance footwear stood for during the mid-nineties: sculpted midsoles, layered construction and bold proportions that prioritized function over minimalism. Nearly twenty years later, Karhu returned to the archives. Not to redesign the silhouette. To preserve it. The Fusion 2.0 was developed alongside the original designer, ensuring the proportions, panel layout and overall stance remained remarkably faithful to the 1996 model. Rather than updating the shoe for contemporary tastes, Karhu allowed the original DNA to speak for itself. Sometimes, restraint is the strongest design decision. The colorway seen here embodies exactly that philosophy. White leather forms the foundation, interrupted by deep forest green underlays, matching webbing and subtle grey accents throughout the collar and outsole. It feels unmistakably Nordic. Clean, practical and quietly confident. Nothing is exaggerated, yet every colour has a purpose. Perhaps that's why it has become one of the silhouette's defining makeups. This isn't another seasonal reinterpretation or collaboration-exclusive palette. It's one of the original Fusion 2.0 colorways that accompanied the model's return in 2015, acting as a bridge between Karhu's archives and a new generation discovering the brand for the first time. That sense of authenticity is difficult to manufacture. It has to be earned. Looking at the Fusion 2.0 today, it's easy to understand why the silhouette continues to resonate. While many archive runners from the nineties have been simplified or modernized, the Fusion embraces the era it came from. The layered construction remains intact. The sculptural midsole still carries the weight and presence expected from performance footwear of the period. Even the proportions feel refreshingly honest in a landscape increasingly dominated by overly refined retros. It isn't trying to look vintage. It simply is. For Karhu, revisiting the archive has never been about reproducing history for the sake of sentimentality. It has always been about recognising that good design doesn't have an expiry date. The Fusion 2.0 proves exactly that. Nearly thirty years after the original first appeared, it still feels relevant, not because it followed trends, but because it never needed to.  

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Nike Skylon 11 Before Running Shoes Became Lifestyle Shoes

Nike Skylon 11 Before Running Shoes Became Life...

Originally introduced at the turn of the millennium, the Skylon arrived during one of the most important periods in Nike Running history. It was an era defined by experimentation, where lightweight trainers became laboratories for new ideas and performance was measured less by marketing slogans than by what happened on the road. Shoes were built to be worn until they fell apart, not placed on shelves or displayed in glass cases. The Skylon wasn't designed to become collectible. It was designed to disappear beneath the runner. That's precisely what makes its return so compelling. Over the past few years, Nike has quietly revisited a generation of performance silhouettes that once sat just outside the spotlight. Models like the Air Zoom Spiridon, the Spiridon Cage 2, the Zoom Drive and the Air Zoom Albis have all returned, reminding us that the brand's running archive extends far beyond its most recognizable icons... The Skylon 11 feels like another piece of that puzzle. It arrives not as an exercise in nostalgia, but as a reminder of how refined Nike's running design had already become by the late '90s and early 2000s. Looking at the silhouette today, it's remarkable how contemporary it still feels. The layered open mesh upper, sweeping synthetic overlays and sculpted midsole carry the unmistakable optimism of the millennium without becoming trapped by it. There's movement in every panel. Every curve seems to guide the eye forward, reflecting an era when Nike's designers treated speed as something that could be communicated visually long before the first stride was ever taken. After years of increasingly sculptural midsoles and oversized running silhouettes, footwear has begun moving back toward cleaner proportions. Designers are once again embracing shoes that feel lighter, slimmer and closer to the ground, not because they're nostalgic, but because elegance rarely goes out of style. Before running footwear became intertwined with fashion, these shoes existed for one purpose: helping athletes move more efficiently. Every stitched overlay, every ventilation window and every material choice served a functional role. The aesthetics were simply a byproduct of thoughtful engineering. For years, collectors looked almost exclusively toward basketball archives, chasing the same handful of silhouettes over and over again. Today, running has become equally important. Not because people suddenly started caring about old performance footwear, but because they're beginning to recognize how much design innovation lived inside those models. The Skylon represents that discovery. A silhouette that spent decades quietly existing beneath the radar before finally receiving the attention it always deserved.

Lees verder

Nike Skylon 11 Before Running Shoes Became Life...

Originally introduced at the turn of the millennium, the Skylon arrived during one of the most important periods in Nike Running history. It was an era defined by experimentation, where lightweight trainers became laboratories for new ideas and performance was measured less by marketing slogans than by what happened on the road. Shoes were built to be worn until they fell apart, not placed on shelves or displayed in glass cases. The Skylon wasn't designed to become collectible. It was designed to disappear beneath the runner. That's precisely what makes its return so compelling. Over the past few years, Nike has quietly revisited a generation of performance silhouettes that once sat just outside the spotlight. Models like the Air Zoom Spiridon, the Spiridon Cage 2, the Zoom Drive and the Air Zoom Albis have all returned, reminding us that the brand's running archive extends far beyond its most recognizable icons... The Skylon 11 feels like another piece of that puzzle. It arrives not as an exercise in nostalgia, but as a reminder of how refined Nike's running design had already become by the late '90s and early 2000s. Looking at the silhouette today, it's remarkable how contemporary it still feels. The layered open mesh upper, sweeping synthetic overlays and sculpted midsole carry the unmistakable optimism of the millennium without becoming trapped by it. There's movement in every panel. Every curve seems to guide the eye forward, reflecting an era when Nike's designers treated speed as something that could be communicated visually long before the first stride was ever taken. After years of increasingly sculptural midsoles and oversized running silhouettes, footwear has begun moving back toward cleaner proportions. Designers are once again embracing shoes that feel lighter, slimmer and closer to the ground, not because they're nostalgic, but because elegance rarely goes out of style. Before running footwear became intertwined with fashion, these shoes existed for one purpose: helping athletes move more efficiently. Every stitched overlay, every ventilation window and every material choice served a functional role. The aesthetics were simply a byproduct of thoughtful engineering. For years, collectors looked almost exclusively toward basketball archives, chasing the same handful of silhouettes over and over again. Today, running has become equally important. Not because people suddenly started caring about old performance footwear, but because they're beginning to recognize how much design innovation lived inside those models. The Skylon represents that discovery. A silhouette that spent decades quietly existing beneath the radar before finally receiving the attention it always deserved.

Lees verder
Souloneryounger: Two Decades as Soul

Souloneryounger: Two Decades as Soul

A few weeks ago we hosted a great aTable dinner and amongst our guests was Souloner. We sat down with the legend for a fun conversation and a ride through Madrid in his new Mercedes, or as he calls it "Mercho". Read below, and check out some pics after the jump.  ---Over the last decade, Souloneryounger has quietly become one of Spain's most recognizable photographers. His work has documented everything from sneaker culture and everyday life in Madrid to countless trips through New York, always through a perspective that feels instinctive, honest, and unmistakably his own. While social media has undoubtedly amplified his work, it never feels like the driving force behind it. The photographs always come first. Long before photography became his profession, though, there was graffiti. Before campaigns, clients and collaborations, there was simply a kid from Moratalaz looking for a name that felt right. We sat down with Soul to talk about where it all began, how photography slowly found its way into his life, and why, despite everything that's changed, the things that matter most have remained exactly the same. "Nobody knows me as Álvaro. Not even my dad calls me Álvaro." He laughs before continuing. For more than twenty years, everyone has simply known him as Soul. It's a name that's followed him through every stage of his life, from graffiti to photography, from his first camera to the work that now reaches hundreds of thousands of people online. The story behind it is far less calculated than most people would expect. "I was about thirteen. Everyone in my class already had a tag. All the kids who were into hip-hop had one, and it actually took me almost a full year to come up with something I liked." Unlike many graffiti names, there wasn't a hidden meaning or elaborate backstory waiting behind it. "I was leaving school one day when someone handed me a flyer for a youth party called Soul Train. Around the same time, I was playing Getting Up on PlayStation, where the main character's name is Trane. I didn't want people thinking I'd copied the game, so I dropped the 'Train' and kept 'Soul'." Two decades later, nothing has changed. "I've been Soul ever since." Although he was born in Torrejón de Ardoz, Soul grew up between Torrejón and Moratalaz. Ask him which place feels like home, though, and the answer comes almost immediately. "Moratalaz. Always." Like so many stories from that generation, graffiti became the doorway into everything else. Painting walls naturally led to hip-hop, hip-hop led to rap, rap led to films, and before long there was another place occupying his imagination. "It all started with the music. Music and movies." Long before he ever visited New York, the city already existed in his head. Growing up in the early 2000s, it represented something much bigger than a destination. It was where the culture came from, where the records he listened to were made, where the stories he watched on screen unfolded. "It always felt like the place where everything happened. The city of opportunity." Listening almost exclusively to East Coast rap only deepened that fascination. "For me, the greatest rappers have always come from the East Coast." Photography didn't arrive through a carefully mapped-out career path. If anything, it slowly worked its way into his life while he was focused on entirely different things. At the time, Soul was trying to balance school, athletics and a job at Foot Locker, squeezing as much as he could into every day until eventually something had to give. "I was training early in the morning, going to school afterward, then working at Foot Locker. There just weren't enough hours in the day." Leaving school wasn't part of some master plan. It was simply the decision that made the most sense at the time. He continued training, kept working and started taking photography jobs whenever they appeared. Looking back now, the timing couldn't have been more perfect. Sneaker culture was entering one of its defining moments. "Supreme. Jordan 1s. Yeezys... it all happened at once." Working in retail naturally pulled him closer to footwear, but it was never about chasing hype. "I never liked the reselling side of it. I hated missing out on a pair because someone bought a hundred of them. The hustle is the hustle, I understand that. But it always pissed me off. What I loved was finally getting the shoe and taking pictures of it." Like most people photographing sneakers back then, his early work revolved around on-foot shots. Over time, though, both the industry and his own eye evolved. "I think sneakers are more beautiful when you treat them like objects. The lighting matters. The laces matter. Every little detail matters." Rather than documenting a sneaker, he began building an image around it. Less about showing the product, more about giving it presence.

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Souloneryounger: Two Decades as Soul

A few weeks ago we hosted a great aTable dinner and amongst our guests was Souloner. We sat down with the legend for a fun conversation and a ride through Madrid in his new Mercedes, or as he calls it "Mercho". Read below, and check out some pics after the jump.  ---Over the last decade, Souloneryounger has quietly become one of Spain's most recognizable photographers. His work has documented everything from sneaker culture and everyday life in Madrid to countless trips through New York, always through a perspective that feels instinctive, honest, and unmistakably his own. While social media has undoubtedly amplified his work, it never feels like the driving force behind it. The photographs always come first. Long before photography became his profession, though, there was graffiti. Before campaigns, clients and collaborations, there was simply a kid from Moratalaz looking for a name that felt right. We sat down with Soul to talk about where it all began, how photography slowly found its way into his life, and why, despite everything that's changed, the things that matter most have remained exactly the same. "Nobody knows me as Álvaro. Not even my dad calls me Álvaro." He laughs before continuing. For more than twenty years, everyone has simply known him as Soul. It's a name that's followed him through every stage of his life, from graffiti to photography, from his first camera to the work that now reaches hundreds of thousands of people online. The story behind it is far less calculated than most people would expect. "I was about thirteen. Everyone in my class already had a tag. All the kids who were into hip-hop had one, and it actually took me almost a full year to come up with something I liked." Unlike many graffiti names, there wasn't a hidden meaning or elaborate backstory waiting behind it. "I was leaving school one day when someone handed me a flyer for a youth party called Soul Train. Around the same time, I was playing Getting Up on PlayStation, where the main character's name is Trane. I didn't want people thinking I'd copied the game, so I dropped the 'Train' and kept 'Soul'." Two decades later, nothing has changed. "I've been Soul ever since." Although he was born in Torrejón de Ardoz, Soul grew up between Torrejón and Moratalaz. Ask him which place feels like home, though, and the answer comes almost immediately. "Moratalaz. Always." Like so many stories from that generation, graffiti became the doorway into everything else. Painting walls naturally led to hip-hop, hip-hop led to rap, rap led to films, and before long there was another place occupying his imagination. "It all started with the music. Music and movies." Long before he ever visited New York, the city already existed in his head. Growing up in the early 2000s, it represented something much bigger than a destination. It was where the culture came from, where the records he listened to were made, where the stories he watched on screen unfolded. "It always felt like the place where everything happened. The city of opportunity." Listening almost exclusively to East Coast rap only deepened that fascination. "For me, the greatest rappers have always come from the East Coast." Photography didn't arrive through a carefully mapped-out career path. If anything, it slowly worked its way into his life while he was focused on entirely different things. At the time, Soul was trying to balance school, athletics and a job at Foot Locker, squeezing as much as he could into every day until eventually something had to give. "I was training early in the morning, going to school afterward, then working at Foot Locker. There just weren't enough hours in the day." Leaving school wasn't part of some master plan. It was simply the decision that made the most sense at the time. He continued training, kept working and started taking photography jobs whenever they appeared. Looking back now, the timing couldn't have been more perfect. Sneaker culture was entering one of its defining moments. "Supreme. Jordan 1s. Yeezys... it all happened at once." Working in retail naturally pulled him closer to footwear, but it was never about chasing hype. "I never liked the reselling side of it. I hated missing out on a pair because someone bought a hundred of them. The hustle is the hustle, I understand that. But it always pissed me off. What I loved was finally getting the shoe and taking pictures of it." Like most people photographing sneakers back then, his early work revolved around on-foot shots. Over time, though, both the industry and his own eye evolved. "I think sneakers are more beautiful when you treat them like objects. The lighting matters. The laces matter. Every little detail matters." Rather than documenting a sneaker, he began building an image around it. Less about showing the product, more about giving it presence.

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Air Jordan XIII "Flint" Some Colorways Never Fade

Air Jordan XIII "Flint" Some Colorways Never Fade

Originally introduced in 1998 during Michael Jordan's final season with the Chicago Bulls, the Flint quickly became one of the defining colorways of the Air Jordan XIII. Unlike the bold "Bred" or the unmistakable "He Got Game," the Flint relied on something far more understated. White tumbled leather, navy overlays, reflective mesh and subtle University Blue accents came together in a palette that felt refined rather than loud. It didn't need to demand attention. It earned it. Since then, Jordan Brand has revisited the Flint on several occasions. After the original release in 1998 came its first retro in 2005, followed by another return in 2010. A decade later, Jordan Brand brought it back once again in 2020, this time restoring many of the original details that collectors had been asking for, including the reflective navy mesh that had become synonymous with the silhouette. More recently, the Flint returned yet again in 2025, proving that some releases never lose their place within the Jordan archive. Perhaps it's because the Air Jordan XIII itself occupies a unique place within the Jordan lineage. Designed by Tinker Hatfield, the silhouette drew inspiration from Michael Jordan's nickname, the Black Cat. The outsole mimicked a panther's paw, while the holographic emblem near the collar referenced the animal's ever-watchful eye. Quilted side panels suggested muscle fibres beneath skin, giving the shoe an organic quality unlike anything else Jordan Brand had produced before. Its restrained palette never competes with the design. The reflective mesh catches light without becoming flashy, the navy suede grounds the upper with confidence, and the Carolina Blue details quietly acknowledge the place where Michael Jordan's journey began long before Chicago... It's simply an exceptionally well-designed colorway on one of the greatest basketball silhouettes ever created. In an era where retros often arrive with updated materials, exaggerated storytelling or manufactured exclusivity, the Flint remains refreshingly honest. Every return feels familiar because Jordan Brand rarely tries to reinvent it. They simply remind us why it worked in the first place. And every few years, a new generation gets to understand exactly why it became a classic.

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Air Jordan XIII "Flint" Some Colorways Never Fade

Originally introduced in 1998 during Michael Jordan's final season with the Chicago Bulls, the Flint quickly became one of the defining colorways of the Air Jordan XIII. Unlike the bold "Bred" or the unmistakable "He Got Game," the Flint relied on something far more understated. White tumbled leather, navy overlays, reflective mesh and subtle University Blue accents came together in a palette that felt refined rather than loud. It didn't need to demand attention. It earned it. Since then, Jordan Brand has revisited the Flint on several occasions. After the original release in 1998 came its first retro in 2005, followed by another return in 2010. A decade later, Jordan Brand brought it back once again in 2020, this time restoring many of the original details that collectors had been asking for, including the reflective navy mesh that had become synonymous with the silhouette. More recently, the Flint returned yet again in 2025, proving that some releases never lose their place within the Jordan archive. Perhaps it's because the Air Jordan XIII itself occupies a unique place within the Jordan lineage. Designed by Tinker Hatfield, the silhouette drew inspiration from Michael Jordan's nickname, the Black Cat. The outsole mimicked a panther's paw, while the holographic emblem near the collar referenced the animal's ever-watchful eye. Quilted side panels suggested muscle fibres beneath skin, giving the shoe an organic quality unlike anything else Jordan Brand had produced before. Its restrained palette never competes with the design. The reflective mesh catches light without becoming flashy, the navy suede grounds the upper with confidence, and the Carolina Blue details quietly acknowledge the place where Michael Jordan's journey began long before Chicago... It's simply an exceptionally well-designed colorway on one of the greatest basketball silhouettes ever created. In an era where retros often arrive with updated materials, exaggerated storytelling or manufactured exclusivity, the Flint remains refreshingly honest. Every return feels familiar because Jordan Brand rarely tries to reinvent it. They simply remind us why it worked in the first place. And every few years, a new generation gets to understand exactly why it became a classic.

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Air Jordan 4 "Comic"; Straight Off the Page

Air Jordan 4 "Comic"; Straight Off the Page

The upcoming Air Jordan 4 "Comic" does something far more interesting. Instead of looking back at an iconic on-court moment or a famous photograph, it reaches into Nike's own archive, reviving one of the brand's earliest pieces of Michael Jordan artwork. To understand the shoe, you have to go back to 1985. Jordan had only just entered the league. The Air Jordan 1 had arrived. Basketball had never seen anything quite like him. Nike, equally aware that they weren't simply selling a basketball player, began experimenting with ways to tell his story beyond the court. Among the earliest pieces of merchandise was a promotional T-shirt featuring Michael Jordan soaring through the air in full comic-book style. Thick black outlines. Halftone shading. Explosive typography. Speech bubbles. The exaggerated energy of vintage American comic books translated Jordan's gravity-defying athleticism into something almost supernatural. It wasn't subtle. It wasn't supposed to be. Back then, Jordan already felt larger than life. The artwork simply acknowledged it... Nearly forty years later, Jordan Brand returns to that forgotten chapter. Rather than reproducing the graphic directly, the Air Jordan 4 "Comic" translates its visual language onto one of Tinker Hatfield's most celebrated silhouettes. Crisp white leather forms the foundation, while bold black linework mimics the heavy ink outlines found throughout classic comic illustrations. Small printed details across the upper evoke halftone textures and hand-drawn shading, giving the impression that the shoe has stepped directly off a printed page. It's playful, unexpected, and unlike almost anything Jordan Brand has released before. The Air Jordan 4 feels like the perfect canvas. Originally introduced in 1989, it has become one of the most recognizable sneakers ever created, its architectural paneling and visible Air unit providing natural spaces for graphic storytelling. Where many Jordan 4s rely on premium materials or nostalgic color blocking, the Comic approaches the silhouette from an entirely different perspective. For decades, comic books have occupied a unique place in American culture. They transformed ordinary athletes into superheroes long before social media existed. Jordan's ability to float, twist and seemingly suspend himself in the air already felt fictional. Wrapping him in comic-book aesthetics simply made visible what fans believed every time he stepped onto the court. It reminds us of an era when basketball marketing was still discovering its own visual language. Before cinematic campaigns and viral films, brands relied on illustration, print graphics and hand-drawn artwork to build mythology around their athletes. The Comic T-shirt became one of those forgotten artifacts.

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Air Jordan 4 "Comic"; Straight Off the Page

The upcoming Air Jordan 4 "Comic" does something far more interesting. Instead of looking back at an iconic on-court moment or a famous photograph, it reaches into Nike's own archive, reviving one of the brand's earliest pieces of Michael Jordan artwork. To understand the shoe, you have to go back to 1985. Jordan had only just entered the league. The Air Jordan 1 had arrived. Basketball had never seen anything quite like him. Nike, equally aware that they weren't simply selling a basketball player, began experimenting with ways to tell his story beyond the court. Among the earliest pieces of merchandise was a promotional T-shirt featuring Michael Jordan soaring through the air in full comic-book style. Thick black outlines. Halftone shading. Explosive typography. Speech bubbles. The exaggerated energy of vintage American comic books translated Jordan's gravity-defying athleticism into something almost supernatural. It wasn't subtle. It wasn't supposed to be. Back then, Jordan already felt larger than life. The artwork simply acknowledged it... Nearly forty years later, Jordan Brand returns to that forgotten chapter. Rather than reproducing the graphic directly, the Air Jordan 4 "Comic" translates its visual language onto one of Tinker Hatfield's most celebrated silhouettes. Crisp white leather forms the foundation, while bold black linework mimics the heavy ink outlines found throughout classic comic illustrations. Small printed details across the upper evoke halftone textures and hand-drawn shading, giving the impression that the shoe has stepped directly off a printed page. It's playful, unexpected, and unlike almost anything Jordan Brand has released before. The Air Jordan 4 feels like the perfect canvas. Originally introduced in 1989, it has become one of the most recognizable sneakers ever created, its architectural paneling and visible Air unit providing natural spaces for graphic storytelling. Where many Jordan 4s rely on premium materials or nostalgic color blocking, the Comic approaches the silhouette from an entirely different perspective. For decades, comic books have occupied a unique place in American culture. They transformed ordinary athletes into superheroes long before social media existed. Jordan's ability to float, twist and seemingly suspend himself in the air already felt fictional. Wrapping him in comic-book aesthetics simply made visible what fans believed every time he stepped onto the court. It reminds us of an era when basketball marketing was still discovering its own visual language. Before cinematic campaigns and viral films, brands relied on illustration, print graphics and hand-drawn artwork to build mythology around their athletes. The Comic T-shirt became one of those forgotten artifacts.

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Nike First Sight Ride: A New Chapter in Everyday Movement

Nike First Sight Ride: A New Chapter in Everyda...

Running is no longer confined to race day or marathon training blocks. It has become woven into everyday life. The morning commute becomes a walk across the city. A coffee run unexpectedly turns into five kilometres. An evening spent meeting friends often begins with a pair of running shoes rather than leather loafers. Performance has slowly escaped the track. Nike's First Sight Ride feels like a product designed with exactly that shift in mind. Rather than chasing outright speed or positioning itself as another carbon-plated racing machine, the silhouette asks a far more interesting question: what should a running shoe look like when running itself has become part of everyday life? Where many contemporary runners rely on exaggerated midsoles and increasingly technical constructions to communicate innovation, the First Sight Ride finds confidence in simplicity. The upper is composed of uninterrupted flowing lines that wrap naturally around the foot, while lightweight engineered mesh and subtle structural overlays create a silhouette that feels remarkably clean from every angle. Even the tooling avoids unnecessary visual noise, allowing proportion rather than excess to define the shoe's identity. The design doesn't immediately reference another Nike runner, nor does it lean on archive nostalgia to establish credibility. Instead, it feels entirely contemporary, not because it follows current trends, but because it understands how women move through cities today. For too long, women's performance footwear has often felt like an adaptation rather than an original idea. Existing silhouettes would simply be resized, recoloured and presented as products designed specifically for women. The First Sight Ride moves away from that approach entirely. Every line, every proportion and every transition feels considered from the ground up, resulting in a shoe that possesses its own visual language without sacrificing the technical performance expected from Nike Running. The silhouette doesn't attempt to disguise performance beneath fashion, nor does it insist on looking aggressively technical to prove its credentials. Instead, it occupies the increasingly interesting space between the two, acknowledging that the distinction has become less relevant with each passing year. The same shoe that accompanies an early morning run should feel equally at home walking through the city for the remainder of the day. That philosophy has quietly shaped some of Nike's most successful silhouettes over the past decade. The products that endure are rarely those built around a single purpose. They become part of people's routines because they refuse to be confined by one. In many ways, the name itself reflects that ambition. First Sight suggests something immediate. A product that doesn't require pages of technical explanation before it begins to make sense. Some designs reveal themselves over time. Others communicate their intentions the moment you see them. The First Sight Ride belongs firmly to the latter. It feels less concerned with becoming the loudest running shoe in Nike's catalogue than with becoming one of its most lived-in. The pair that naturally finds itself waiting by the front door. The one worn without much thought because it simply works, adapting effortlessly to the rhythm of everyday life. In an industry increasingly obsessed with making running shoes look faster, taller and more complicated than ever before, the First Sight Ride reminds us that good design often begins by removing rather than adding.

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Nike First Sight Ride: A New Chapter in Everyda...

Running is no longer confined to race day or marathon training blocks. It has become woven into everyday life. The morning commute becomes a walk across the city. A coffee run unexpectedly turns into five kilometres. An evening spent meeting friends often begins with a pair of running shoes rather than leather loafers. Performance has slowly escaped the track. Nike's First Sight Ride feels like a product designed with exactly that shift in mind. Rather than chasing outright speed or positioning itself as another carbon-plated racing machine, the silhouette asks a far more interesting question: what should a running shoe look like when running itself has become part of everyday life? Where many contemporary runners rely on exaggerated midsoles and increasingly technical constructions to communicate innovation, the First Sight Ride finds confidence in simplicity. The upper is composed of uninterrupted flowing lines that wrap naturally around the foot, while lightweight engineered mesh and subtle structural overlays create a silhouette that feels remarkably clean from every angle. Even the tooling avoids unnecessary visual noise, allowing proportion rather than excess to define the shoe's identity. The design doesn't immediately reference another Nike runner, nor does it lean on archive nostalgia to establish credibility. Instead, it feels entirely contemporary, not because it follows current trends, but because it understands how women move through cities today. For too long, women's performance footwear has often felt like an adaptation rather than an original idea. Existing silhouettes would simply be resized, recoloured and presented as products designed specifically for women. The First Sight Ride moves away from that approach entirely. Every line, every proportion and every transition feels considered from the ground up, resulting in a shoe that possesses its own visual language without sacrificing the technical performance expected from Nike Running. The silhouette doesn't attempt to disguise performance beneath fashion, nor does it insist on looking aggressively technical to prove its credentials. Instead, it occupies the increasingly interesting space between the two, acknowledging that the distinction has become less relevant with each passing year. The same shoe that accompanies an early morning run should feel equally at home walking through the city for the remainder of the day. That philosophy has quietly shaped some of Nike's most successful silhouettes over the past decade. The products that endure are rarely those built around a single purpose. They become part of people's routines because they refuse to be confined by one. In many ways, the name itself reflects that ambition. First Sight suggests something immediate. A product that doesn't require pages of technical explanation before it begins to make sense. Some designs reveal themselves over time. Others communicate their intentions the moment you see them. The First Sight Ride belongs firmly to the latter. It feels less concerned with becoming the loudest running shoe in Nike's catalogue than with becoming one of its most lived-in. The pair that naturally finds itself waiting by the front door. The one worn without much thought because it simply works, adapting effortlessly to the rhythm of everyday life. In an industry increasingly obsessed with making running shoes look faster, taller and more complicated than ever before, the First Sight Ride reminds us that good design often begins by removing rather than adding.

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