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[ameliaasma-blog]

American troops guarded Iraq's oil ministry

Teachers at the Tianjin school, which prides itself on the high proportion of its graduates who get into the best colleges, say the pressure is so intense on elite students that they are still scared to challenge their teachers or to spend much time exploring topics outside the prescribed curriculum.At more ordinary schools, too, teachers do not always encourage student initiated digressions."We don't get many debates in my class," says Xi Haixin, a 17 year old high school junior. 

"Sometimes we want to discuss something, but the teacher has too much material to get through and he drops the issue."It is also difficult, Xi acknowledges, to hold a coherent debate when there are 50 or so students in the class, cheap nfl jerseys as is normally the case in China."Spider Man 3": Already seen itEven if his teachers do not satisfy his Web fueled curiosity, Xi says, the Internet has still changed him and his generation. "I'm part of international society now," he reckons, listing the Miami Heat as his favorite basketball team, rhythm and blues as his favorite music, and "Spider Man 3" as the best film he has seen recently.

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The low cut of the sneaker was inspired partly by the world bet on soccer

Nike released the Zoom Kobe V for general sale in late 2009. It eventually became obtainable in a minimum of twenty colors. A low-top, as well, the ZKV was lighter and offered more stability compared to previous Zoom Kobe. At its release, the ZKV held the excellence to be the cheapest and lightest hoops kicks in Nike history.

The low cut of the sneaker was inspired partly by the world bet on soccer. Bryant played soccer growing up and wanted a court shoe that allowed him to maneuver in the same manner. Also it weighed less than eleven ounces.

The ZKV became obtainable in the purple and gold from the Los Angeles Lakers, including an authentic Home and Away edition each, another Home addition, and a couple of Playoff Pack pairs. Colors carried over from the ZKIV included Chaos, Del Sol, Chaos, Draft Day Hornets, All-Star Game, yet others.

New ZKV colorways not official for the ZKIV included one each for the University of Southern California and Duke University. A Team USA edition along with a Lower Merion High School edition were released. Other limited-edition color included a Dark Knight edition, a Martin Luther King, Jr., edition, along with a Bruce Lee version.

Innovation and style signify the Kobe Bryant basketball shoes made by Nike. At the end of 2010, the Zoom Kobe VI was launched. Sneakerheads and Bryant supporters always anticipate the release of every shoe, and also the buzz surrounding that one wasn't any diverse from in the past.

Zoom Kobe sneakers can be purchased in many of regular colorways. Frequently, however, they drop in unique versions having a link with Bryant. Adidas was the initial manufacturer of the official Bryant shoe, but with Nike, the popularity of his kicks took off.

The first Nike shoe related to Bryant was known as the Air Zoom Huarache 2K4, followed by the 2K5 the following year. It had been the 2K5 that first included their own Nike logo. It's a three-pronged symbol supposedly reminiscent to some samurai warrior totem.

It had been the environment Zoom Kobe I that was the first official Bryant Nike shoe. December 25, 2005, was its debut. Several weeks later, Bryant was wearing them as he scored 81 points in a single game.

Zoom Kobe II and Zoom Kobe III came next. Each offered better cushioning, stability, and support. Because Bryant wore another shoe for many of year the ZKII was launched, however, it's always been rumored that Bryant didn't look after the ZKII.

As Bryant wore Hyperdunks in the 2008 Beijing Olympics, many thought it might be his fourth shoe. It was not. Instead, it was the Zoom Kobe IV that came next and created such a stir. It had been very light, but its distinctive feature was its being low-cut, that is rare among NBA players.

People liked playing ball in them and they came in more than a dozen colorways, including some collectible editions. These included shoes called Carpe Diem, Del Sol, and All-Star Game. Others were themed for example Draft Day Hornets Edition, showcasing the 2009 NBA Finals, celebrating the Minneapolis Lakers, and much more.

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The Nike KD 1 - Kevin Durant Signiture Shoes

The Nike KD 1 – Kevin Durant Signiture Shoes

The Nike KD 1 is Kevin Durant’s 1st signature shoe made by Nike. released on the 2008-09 NBA Season.

Designed by Leo Chang, the KD1 drew inspiration from the Huarache 2K4, one of Durant’s favorite shoes at the time. Main characteristics:

lightweight shoe possesses the same player-friendly Nike Hyperdun.

instantly molds to the foot.

features a vivid orange upper with teal shoelaces

Nike’s popular…

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Nike Lunarglide 6 À la semelle intermédiaire pour un ajustement supérieur ce qui signifie que vos pieds sont plus sûrs et moins susceptibles de glisser...

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Every great label lives in the shadow of its founder. At Dior’s most recent menswear show, presented in the barracks of Paris’ horseback cavalry, la Garde républicaine, that fact is writ large. Kim Jones, the newly minted menswear artistic director of the fashion house, commissioned artist Brian Donnelly — better known as KAWS — to lend his street art stylings to Dior for the season. One of KAWS’ contributions is a 10-meter tall floral statue of the house’s founder, Christian Dior.

Comprising 70,000 flowers in vibrant pink, crisp white, and stark black, it is the artist’s rendition of Mr. Dior as filtered through KAWS’ “BFF” character, a furry, four-fingered, Muppet-esque figure with a button nose and Xs for pupils. In his hand, he holds a white perfume bottle in the shape of Mr. Dior’s dog, Bobby — a reference to a limited-edition Miss Dior perfume bottle from 1952. And here, in the shadow of Mr. Dior and his Bobby bottle, Jones is about to establish a new era at Dior Men’s.

Born in London in 1979, Jones experienced a life of constant travel from an early age. His father was a hydrogeologist who brought the family along to far-flung locales such as Tanzania, Kenya, Ecuador, and the Amazon — with brief periods of respite in London in between. The designer still considers Africa his second home, and Jones recalls that it was in Botswana where he saw the first garment he ever loved: a T-shirt bearing the photo of a lion.

At 14, he considered following in his father’s footsteps in zoology or conservation, but thanks to an adolescence spent obsessing over his sister’s treasure trove of fashion magazines, he switched toward something in the nebulous field where culture and creativity intersect. His collector’s instinct started to manifest back then, too, with the young Jones collecting vintage Levi’s pieces and getting exposed to London’s bustling subcultural scene, discovering designers such as Vivienne Westwood along the way. Today, Jones’ collection spans an impressive archive of ’80s London clubwear from designers and brands including Westwood, Rachel Auburn, Stephen Linard, and Modern Classics.

In addition to pieces from Issey Miyake, Jean Paul Gaultier, and Christopher Nemeth, he once confessed in a 2016 interview with Designboom that he owns more than 500 sneakers, many of which are Nike models such as the Air Huarache and Air Jordans.

Jones and his friends had trouble finding clothing they liked, so took a DIY approach in the vein of the punk movement spearheaded by Malcolm McLaren and Westwood. He took these designs to Louise Wilson, the late head of fashion at prestigious art school Central Saint Martins, who offered him a place in the program. At the same time, Jones had been offered his first job in the industry by Michael Kopelman, an early member of the International Stüssy Tribe and founder of streetwear distributor Gimme Five. Jones’ earliest duties involved unpacking boxes of Supreme gear among others for distribution to some of London’s most prescient stores. One such place was The Hideout, an ahead-of- its-time boutique run by Kopelman and Fraser Cooke, who currently oversees Nike’s buzziest collaborations and is responsible for bringing the likes of UNDERCOVER’s Jun Takahashi and Jones himself under the Swoosh’s fashion-forward umbrella.

But before that, Jones was already generating buzz with his graduate collection in 2002. It caught the eye of designer John Galliano, who bought half of the collection. A year later, Jones made his debut at London Fashion Week, selling a prized Vivienne Westwood parachute shirt on eBay to fund the collection. Even then, Jones’ penchant for integrating sportswear and subculture into his clothes shone through, mining ’90s youth culture and rave festivals for inspiration.

Dior / Archive / Sophie Carre

These influences were manifested in cropped Peruvian stripe bomber jackets, ombré-dyed denim, and collared bombers with a tribal print motif. His penchant for rip-and-repair garments resulted in bicolor trousers in contrasting pink pastel tones and deep purple hues, patchwork pants, and material-blocked dropped-crotch nylon track pants styled with Nike Terminator high-tops.

He established codes that mixed what was happening in streetwear with runway-worthy garments, catching the eye of Uniqlo, Hugo Boss, Topshop, and Umbro. With the latter he designed a capsule collection for several seasons until 2007 and worked on a 2005 football jersey collaboration with Supreme. In 2008, he was appointed creative director of storied British tailoring house Dunhill, revitalizing the label’s menswear with a worldly, casual universe of clothes. Zippers replaced button closures, humble coach jackets were elevated with premium fabrics, and sportcoats were reinterpreted into garments resembling Japanese kimonos. Three years into his tenure, he departed for Louis Vuitton.

His seven-year career at Vuitton took a house predominantly known for its status-symbol accessories and made it a formidable player in the menswear space. Jones’ peripatetic design codes aligned perfectly with a fashion house that already appealed to the jet set. He introduced a line of premium fleece pieces in Fall/Winter 2014 that melded Patagonia staples with high-end branded hardware. In Fall/Winter 2015, he revisited the work of one of his favorite designers, Christopher Nemeth, who moved from London to Tokyo in 1986 and died aged 51 in 2010, creating a line of covetable pieces utilizing Nemeth’s signature artistic prints. Jones revered the late Nemeth’s prescience in melding Savile Row with street-ready silhouettes — and it’s a torch he seems to have picked up.

No collection signified that more than Fall/Winter 2017, which saw an unprecedented collaboration between Louis Vuitton and Supreme. To some, it signified the death knell of streetwear, but for Jones, it was a natural progression for two labels that have come to represent two sides of the same coin — creating products that are coveted the world over, yet remain inaccessible to all but a select, extremely lucky few (and those with enough cash to fork over the exorbitant asking price).

“You wear clothes in the street, so everything’s streetwear. You can wear a couture gown down the street and that turns it into streetwear.”

“I get so bored of that term ‘streetwear,’” says Jones. Right now he’s backstage at the Summer 2019 Dior Men’s show, walking through the collection and examining the final looks before they’re revealed to the world on the runway. “You wear clothes in the street, so everything’s streetwear. You can wear a couture gown down the street and that turns it into streetwear.”

Indeed, perhaps the term “streetwear” is redundant. Jones brings up one of his favorite designers today, Jun Takahashi of UNDERCOVER, as an example. Takahashi’s acclaimed label often toes the line between punk-infused rip-and-repair garments and graphic-driven pieces with a subversive bent. Earlier in the week, Takahashi held his first-ever menswear fashion show, which Jones attended. The two are friends and share a mutual admiration.

“His work is fashion. I think it’s wrong to put that in the bracket of ‘streetwear’ — it’s just good design,” says Jones. “It’s 2018. You’ve got to be realistic about what people wear.”

Jones’ realistic approach to the commercial side of Dior’s menswear balances out with a new universe he’s establishing in this first season. First off, he’s renamed the label from “Dior Homme” to the simpler “Dior Men’s.” Dior Homme’s previous designers, Hedi Slimane and Kris Van Assche, left a legacy of predominantly noirish clothes with a dark, somewhat gothic edge. Jones has rewritten the rules with his first collection, equal parts inspired by Mr. Dior’s love of nature and flora and a desire to blend the worlds of Dior’s womenswear and menswear.

“Each house I work with, I use different codes and DNA,” he says. “Dior is a tailoring brand, essentially, and we want to be very chic.” Of course, to Jones, “tailoring” means much more than traditional suiting. Plenty of the pieces in his debut collection utilize precious materials and techniques to give classic sportswear garments like bomber jackets, topcoats, and T-shirts a decidedly more artisanal (and slightly femme) look and feel. The Dior Homme logo has been replaced with an older design, a sleeker all-caps “DIOR” that also appears on its womenswear, further cementing the connection between Jones’ line and the women’s collections designed by Maria Grazia Chiuri.

“There’s something utilitarian about Dior,” he says. “It’s a little bit romantic I guess, but in a very sporty way.”

Jones takes an archival suit silhouette pairing a double-breasted jacket and voluminous trousers and renders them in a muted pink, referencing Mr. Dior’s childhood home, and another in a bright yellow. This color, and other garments with gold flecks on them, are a sly nod to French poet Jean Cocteau, who once described Christian Dior as an “agile genius of our times whose magical name contains ‘dieu’ and ‘or,’” the word “dieu” meaning “god” and “or” meaning “gold.”

One of the recurring motifs is the toile de jouy pattern designed by Victor Grandpierre in 1947 for the original Dior boutique, repurposed as embroidery and jacquard on shorts, sheer tops, and a technical organza used as a layer on a bomber jacket emblazoned with embroidered bees of KAWS’ design. It’s one of the artist’s many reinterpretations of the house’s codes in the collection, and like most of Jones’ collection, will demand a significant price.

Jones is a designer who makes fashion with a capital “F” and Dior is a house that specializes in luxury with a capital “L.” Both words mean something different than they did two years ago. In an era of waning dress codes and upscale casual clothing, a product’s price tag is tied more to its provenance, earned through years of making consistently good product — or to its hype, where the rabid demand far outweighs the scarce supply. Fashion and luxury are malleable terms that can be applied as much to a covetable sneaker (of which there are many in Dior’s latest collection) as to a denim trucker jacket embroidered with KAWS for Dior bees.

“There’s something utilitarian about Dior… It’s a little bit romantic I guess, but in a very sporty way.”

“Today, via the internet and Instagram, people adhere to brands, not only by products, but also by the values of culture and know-how,” Dior chief executive Pietro Beccari told French newspaper Le Figaro in June. “They want to hear beautiful stories. The Dior house has a lot to tell.”

It’s appropriate that Jones is at the forefront of LVMH’s golden goose — The New York Times reported in 2017 that Dior holds 41 percent of the share capital and 56.8 percent of the voting rights within the conglomerate. Beccari, like Jones, is a realist about the way people dress today. It’s possible to make sportswear as desirable and elegant as an expensive, one-of-a-kind couture creation, and if you can make the right emotional connection with a potential client, they’ll gladly pay the asking price.

What Jones brings to the table is an ability to meld the impulsive part of the lizard brain, the part that covets new products, with the elevated execution of a designer who knows how to rework the existing codes of a fashion house. If streetwear is a movement built largely on placing high fashion in a different, more accessible context, Jones is able to take that energy to an esteemed house like Dior without having to compromise on quality or worry about things like price points. It has also afforded him the opportunity to bring some friends along the way. Streetwear, after all, was a bustling community of like-minded creatives before it was an industry.

“You want to work with people you like,” says Jones. “I got Matthew Williams to design the buckles for me because I really love his brand. I’ve got Yoon [Ahn] working with me also, and I commissioned KAWS to design the bee.”

KAWS and Jones have been on each other’s radar for quite some time, and both also work with Nike on sought-after collaborations. The two had been in touch prior to Jones’ appointment at Dior, and when it came to Jones’ debut show, he couldn’t think of a better person to help make a statement.

“I’ve always wanted to work with KAWS,” says Jones. “I think it’s nice that he’s the first person I’d work with at Dior because I love his work. For me, for the generation that’s coming up now, he’s the most important artist in the world.”

Before KAWS built the statue for the show (and a smaller rendition that lives in Dior’s showroom), the artist was commissioned to design plush “BFF” toys decked out in Dior Baby clothing, a sub-line KAWS didn’t even know existed. On Jones’ Instagram in the days leading up to the show, he posted a plethora of celebrities, including A$AP Rocky, Kate Moss, and even Louis Vuitton’s new men’s artistic director Virgil Abloh, posing with the two stuffed toys.

KAWS admits he was initially hesitant to move forward with the sculpture, as art world timelines are much more forgiving than those in fashion, and was impressed that Dior could pull together such a massive undertaking in a matter of months. In addition to the Dior bee motif, KAWS also remade the Dior logo in his own style, and a variety of his works show up again in the accessories collection, spearheaded by designer Yoon Ahn of cult Japanese jewelry label AMBUSH.

Ahn’s approach to the accessories line is complementary to the cavalcade of colors in Jones’ collection. KAWS’ bee and Mr. Dior BFF reappear as studded pendants and high-end keychains. Chunky, iridescent letters refashioned into rings spell out “DIOR,” and there are even plush keychains depicting Mr. Dior’s dog Bobby tie-dyed in psychedelic colors. Tying into Jones’ desire to bring more elements of womenswear into the collection, this is the first season that Dior’s best-selling saddle bag has been recontextualized into the men’s offering, appearing as soft leather side bags, pouches, backpacks, and other elegant luggage pieces.

/ Milan Vukmirovic

“You want to work with people you like… I got Matthew Williams to design the buckles for me because I really love his brand. I’ve got Yoon [Ahn] working with me also, and I commissioned KAWS to design the bee.”

Notably, many of the new bags, belts, and even baseball caps feature custom buckles designed by Matthew Williams of 1019 ALYX 9SM, a nascent label known for its Rollercoaster belts inspired by chunky, tactical quick-release COBRA buckles.

“Kim and I had been friends a long time, and he was somebody that really mentored me and motivated me to start my own brand,” says Williams.

After Williams’ first season, he gifted Jones one of his backpacks featuring 1019 ALYX 9SM’s custom buckles, and Jones loved it. For Dior, Williams has designed several buckles that meld the utilitarian appeal of the originals with the elevated branding of Dior. In one instance, he turns Christian Dior’s “C” and “D” initials into an interlocking buckle. It features on a baseball cap that London grime artist Skepta wore to the show.

“He gave me, like, two months to make these buckles, and I just pulled it together for him,” Williams says.

Jones might define streetwear merely as clothes people wear on the street, but his approach to Dior Men’s has much more in common with the mindset of the culture’s progenitors. He’s designing clothing for people with a specific mindset, and he’s tapped some of his high-profile creative friends to fashion covetable products they might not have been able to create on their own.

“The visibility of a lot of the people that started off more modestly in streetwear has changed,” says KAWS. “The world has definitely noticed and things just keep growing. But what’s unique about a company like Dior is the craftsmanship. I was blown away at the speed at which things can be made and the integrity put into them. That’s not common.”

The shift in consumer desire and what cultivates a passion for product is not lost on Jones. He’s fully aware of the dichotomy of balancing a consistent vision for a brand with creating new commercial hits season after season. That’s why introducing the saddle bag for men alongside several new sneaker silhouettes is telling. After all, more and more men (and women) have been sporting fanny packs and waist bags from streetwear brands and luxury labels alike.

“It’s more than menswear… People want to buy clothes that they can wear all the time.”

Sneakers have become a status symbol for men and women, so it’s not far-fetched to think Jones sees a future in which a Dior purse gets a second life as a must-have men’s accessory, especially when it has a Williams-designed buckle. “It” brands and “it” products ebb and flow season after season, but pieces like that have the potential to become longtime grails.

“It’s more than menswear,” as Jones puts it. “People want to buy clothes that they can wear all the time.”

[andthismypicture-blog]

post-post colonial

cant remember if i posted this when i did it.... and if i did, here it is again haha my post post-colonial essay

Joshua Thompson

Post Post-colonial

 Artifact I like and think is good.

Air Max One

  The Nike Air Max One is a sneaker designed and released in 1987 by legendary sneaker designer, Tinker Hatfield. On a trip to paris, Hatfield was inspired by the Centre Georges Pompidou (Longville & Hatfield, 2006). A building which is cutting edge in it's own right. Hatfield liked the idea that you could see the inner workings of the buildings structure, from the outside(Longville & Hatfield, 2006). This inspired him to incorporate the window in the sole of the air max one, letting you see the inner workings of the signature air sole. This is a feature that would continue on and become one of Nikes' greatest and most recognizable design features even to this day. Hatfield says

           Every shoe I design has to have a story behind it, that's what everybody falls for – be it the  history of the shoe, the cultural relevance, or the technology, whether that's being excited   about the latest technology of the latest design like flywire or reminiscing about the  technology of the Air Max for example(The guardian, 2014).

 The Narrative of this sneaker though, could not have been predicted by Hatfield. What made this shoe revolutionary and ahead of it's time was that because of the make of the panels, and it's already radical yet simple design, Nike could afford to continuously  re-colour the Air Max and introduce new iterations of it constantly(The Guardian, 2014). This combined with it's hefty price tag, made the sneaker somewhat of a cultural phenomenon, especially in the Hip-hop community(Complex, 2015). This is Illustrated by numerous rappers making reference to the Air Max in songs, such as the Game threatening to “kill you if you try me for my Air Max 95s” in his song Hate it or Love it. Also due to its high price tag and cult status in the hip-hop community, the shoe became a target for crime. In the UK, the Air Max 95 has long held some criminal associations. The Air Max's' large price tag affords it a certain status, and its footprint has been commonly spotted at crime scenes. According to a forensic science report from the mid-2000s, the 95 was trailing second in “typical pattern frequency distribution for footwear marks from a UK police force” at just 8% to the 10% of Marshall Mathers’ favorite sneaker, the Air Max LTD(Complex 2015).

 The sneaker also has a huge following in Japan, making appearances in numerous manga and anime series after the Japanese appetite for dead stock, second hand sneakers which have not been worn, grew dramatically in response the re-release of the Air Max(Complex, 2015).

 These things show evidence of the globalized nature of fashion and design today, in which slippage and appropriation occurs and new meaning is ascribed to and artifact.The fact that this sneaker remains one of the most popular sneakers among youth today, despite being a 30 year old design, and that the high resale price of the sneakers is driven solely by the quality and design of the shoe, as opposed to just limited supply (which is how other shoes on this list garner their high prices), is why I the Air Max is one of favourite pieces of design.

 Artifact I don't like and think is good.

Nike Air Mag

The Air Mag was also designed by Tinker Hatfield. This sneaker was designed for the film Back to the future Part II. Hatfield designed the sneaker for the movies release in 1989, in which Marty McFly time travels to the year 2015 where, among other things, he encounters these shoes. They were Hatfield's attempt at predicting a shoe that would be helpful and functional for people of that time. These shoes are a great piece of design because of the sheer influence they have had on almost every nike release since then, and also some other brands (complex, 2015).

 One of the most intriguing aspects of the nike mag, is that for twenty six years, they were merely a design. They were not released to the public, or even made (apart from the pairs used for filming) until 2011 when they released a sort of look alike version, and then the full release of the adaptive lacing full version in 2015 (complex, 2015). This was for a number of reasons, the most notable is because the technology simply could not be fit into a shoes the that size, as the design of it is meant to fit snugly around the wearers foot (highsnobiety, 2015), an idea which at the time was un heard of but is now evident on most popular designs today such as Nikes' huaraches, and Adidas' NMD and ultra boost lines.

 The Air Mag also pioneered the technology which would become Hyperwire. Nikes technology which would revolutionize performance basketball shoes from 2008 onwards (complex, 2015).

It was also a huge contributor to the design of Kanye Wests Nike Yeezy line, lending its extremely high over the ankle design and the use of a lycra or synthetic inner sole. The shoe spanned only two models, but became somewhat of a cult icon due to it's limited stock releases.

 Despite the critical and commercial success of these shoes, I do not think that they are good sneakers. This is partly because in the film, they are advertised as being mass produced, and everyone was wearing them, however when they were released, they were only done so at auction, with a very limited run, meaning that prices went into the thousands of dollars immediately, and although the proceeds went towards Michael J. Fox' Parkinson's research foundation, it made it almost impossible for people to afford. The cultural impact of the Nike air mag is undeniable, but the design of the shoes is clunky and although it spawned a number of game changing technologies, it feels somewhat un-authentic, and the value of the sneaker is almost fetishized by the nostalgia they evoke.

       Artifact I don't like and don't think is good.

Adidas Yeezy Boost 750

 Kanye West leave Nike and join Adidas after the release of the Yeezy 2, citing that Nike would not allow him as much creative freedom as he was looking for. For my opinion, this was a good call by Nike as I feel that the Yeezy Boost lines are lazily designed and only enjoy the status that they do among the sneaker community due to the brand he has created and his insistence on releasing only very limited numbers of shoes at a time, forcing people to wait in lines outside sneaker stores for sometimes days on end. This principle of lazy design is evident in all of Kanye's' design, evidenced by a plain white T-shirt he released in collaboration with APC, which retailed and sold out, for $120 USD (okay player, 2013).

 Kanye west raps about racism and the exploitation of black people in many of his songs, such as Breathe in breathe out and Spaceship, then actively markets extremely expensive products to those people, knowing full well that his brand and star power will create demand among people who often can't afford these shoes.  Sneaker production costs are notoriously low, across the board, in comparison to their recommended retail price,  with the Yeezy boost 750 being no exception. The shoes costs around $76 USD to make and retails for $350 USD, however (Highsnobiety, 2016), the dead stock resale value of the 750s' can exceed  $1500 USD.

 Another factor which sets these apart from other sneakers that can sometimes garner similar price increases, is that others such as Air Jordan Retros and Air Max sneakers, all have functional origins. The sneakers are designed to be use full and have a practical application, Whereas the Yeezy 750s' do not. They are made specifically for fashion, and are despite attempts by some nbaplayers, are not suitable for playing sports in, I can attest  to this as I was gifted a pair and they promptly ripped and I hurt my ankles.

 These Shoes are a prime example of ascribed value and The difficulties of existing in an hybrid space as an artist or designer. It is an example of the oppressed becoming the oppressor and the oppressed no longer being fully able to see themselves without the gaze of the colonizer.

             Artifact that I like but suspect might not be good

Air Jordan 1

The original Air Jordan 1 is one of the most legendary sneakers in the world. Released in 1985 for $65 USD, they were designed for and worn by Michael Jordan for his rookie season. They were ground breaking in that they were the first shoe to be worn in the NBA featuring more than one colour. This at the time, broke NBA commissioner David Sterns strict uniform policy and he fined Jordan $5000 USD per game every time he wore them “Nike loved this idea so much that they encouraged MJ to wear the shoes, and Nike would pay the fees. In result, Nike gave the the Air Jordan 1 “The shoe banned by the NBA” label” (sneakerfiles).  

 This gave the Air Jordan 1 a cult following and it became the most popular sneaker of the decade (sneaker files), and forced David Stern to change his Uniform policy. The shoe also spawned many impersonators, including the Converse weapon and the Reebok Pump. However, The Air Jordan itself was in impersonator. It was modeled after the Air Force 1, released in 1982. This shoes has a very similar design, and employs the same technology but was discontinued in 1984, and seemingly released under a different name as the Air Jordan the next year (complex, 2012).

 The fact that it is basically the same shoe with a different name, and today an almost $100 NZD price difference, Is why I think that they it may not be a great sneaker. They are merely a product of Nikes great marketing. Also, while there is apparent similarities between the Air Jordan sneakers chronologically, this doesn't apply to the Air Jordan 1. The Air Jordan 2 is a completely different sneaker. The Air Force 1 went on to become the highest selling athletic shoe of all time (complex, 2012), and the Air Jordan 1 is one of the least frequently released of the Air Jordon retro collection.

 Despite this, the cult status of the shoe, and its' classic red, black and white colour way, are one of my favourite sneakers of all time, as are the Air Force one. They have their own mythology about them, and this narrative is the main selling point, despite the design of the sneaker itself being quite unoriginal.

            Reference List

  Complex (2015, September 11), 20 things you didn't know about the air max 95, retrieved from

           http://au.complex.com/sneakers/20-things-you-didnt-know-about-nike-air-max-95/

 Complex (2012), 30 things you didn't know about the air force 1, Retrieved from             http://au.complex.com/sneakers/2012/12/30-things-you-didnt-know-about-the-nike-air-    force-1/original-was-discontinued

 Complex (2015, October 24), The visible influence of the nike mag on sneakers in 2015, retrieved  from http://au.complex.com/sneakers/2015/10/nike-air-mag-modern-sneaker-influence

 Highsnobiety (2015) Fiction to fact : Tinker Hatfield explains how adaptive lacing was made for   the nike mag. Retrieved from http://www.highsnobiety.com/2016/10/06/nike-mag-adaptive-l        acing-tinker-hatfield-video/

 Highsnobiety (2016), Sneaker production costs, Retrieved from        http://www.highsnobiety.com/2016/05/27/sneaker-production-costs/

 Nice Kicks (2015) Nike air mag, retrieved from http://www.nicekicks.com/tag/nike-air-mag/

 Okay player (2013) Not Okay, Player: Kanye West's $120 Plain White "Hiphop" T-Shirt Sells       Out             Instantly. Retrieved from http://www.okayplayer.com/news/style-kanye-west-apc-120-plain- white-hiphop-t-shirt-sells-out.html

 Sneaker freaker (n.d.), Air max 1, retrieved from https://www.sneakerfreaker.com/tag/air-max-1/

  Sole Collector (2015, May 24),  How to Buy the 'Chicago' Air Jordan 1 on Nikestore

           Retrieved from https://solecollector.com/news/2015/05/air-jordan-1-chicago

  Thibaut de Longeville, Tinker Hatfield (2006, September 6), Respect the architects, Retrieved from

           https://vimeo.com/38994002

 The Guardian (2013, December 14), Nike's iconic air max trainer celebrates 25th anniversary with             Tinker Hatfield. Retrieved from https://www.theguardian.com/fashion/2013/dec/14/nike-air-       max-trainer-25-anniversary-tinker-hatfield

[qeefga-veohpe]

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[du-juan-blog]

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Price 55.0 USD (46 Bids) End Time: 2017-03-17 02:46:41 PDT Bid Now | Add to watch list http://ebay.to/2mvKfkq

[nikehuaracheblackreds9-blog]

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