When <a rel="noopener noreferrer" href="https://about.nike.com/en/magazine/sha-carri-richardson-s-incredible-journey" target="_blank">Sha'Carri Richardson</a> stepped onto the red carpet at Athlos London this week, her coat ignited under the flash, reflected silver between each snap of the shutter, then settled back into something resembling a dense fog—just as it was built to do. Every Swarovski® crystal on the explosive two-time Olympic medallist's custom look was applied by hand; every line of boning was sewn in to shape a silhouette no pattern alone could hold.&nbsp;&nbsp;"It's about adding a little bit of chaos, that unexpectedness, through the material", says Nike's Raffaella Barbey, the ensemble's senior designer director. "You'll see it in the seams too, which have a wash effect that's really beautiful",&nbsp;Richardson's bespoke look is part of <a rel="noopener noreferrer" href="https://about.nike.com/en/magazine/jannik-sinner-nike-atelier-custom-look" target="_blank">Nike Atelier</a>, a vision that combines sport, innovation and premium craftsmanship to create extraordinary, one-of-a-kind expressions for athletes' greatest moments. The reflective design material in Richardson's coat, designed to be muted by day and flare to life at night, wasn't the only element that stood out.&nbsp;At the centre of it all was a defining piece of Nike innovation: the <a rel="noopener noreferrer" href="https://about.nike.com/en/magazine/nike-new-performance-material-flyweb" target="_blank">FlyWeb Bra</a>, a first-of-its-kind technology that trades traditional knit and woven construction for a single seamless layer, engineered zone by zone for fit and support. Layered beneath a grey ribbed knit corset, the bra—3D-printed, with grid-patterned lattice—anchored the outfit at her chest.&nbsp;&nbsp;

"Innovation is always the starting point", Barbey explains of Nike Atelier projects. "From there, we ask: how can we build around that?"To answer the question, Barbey and her team looked to the athlete herself.In training and competition, Richardson is precise and methodical. Yet she also has a side to her that gives way to something more expressive, visible in her hairstyles, nails, clothing and artistic expression. Barbey and the Nike Atelier team wanted the look they created for the sprinter to hold both sides of her personality at once."We found that duality very interesting, and we wanted it represented in the designs we created", she says. "With Sha'Carri, there's the really disciplined athlete in terms of her training, her diet. She has to be in this game mode constantly. But then there's also an element of distortion, of grit, of energy".Richardson felt it too, the moment she saw the finished look."My first reaction to the outfit was shock", she says. "It reminded me of something beautiful in disguise. I was very surprised, and truly in awe".

Precision, distorted

Discipline against disorder became a guiding principle for the outfit Barbey designed. The FlyWeb Bra brought a precise, structural element to the look, which the designers echoed through corsetry and tailoring in a fitted, ribbed knit bustier dress and matching micro shorts. Across the silhouette, those elements maintain "structured, strict lines", Barbey says, while shaping and accentuating Richardson's athletic form.Then surface treatments broke those lines apart. A fading wash left the grey rib knit looking clouded and weathered, undercutting the precision everywhere else in the piece.&nbsp;&nbsp;

The idea for the weathered effect traces back to the fact that athletes often live in cities and train on concrete as much as on a track. The look's stark grey colours come from that concept, along with the reflective design, brought to life through an image Barbey and her team kept returning to: the city after rain."It's almost like you were on that morning run, with the droplets of rain dropping on your jacket", Barbey says. "Then on the shoes, this idea of splashing in the puddles in the city". The Swarovski crystals scattered across the coat are meant to invoke raindrops, thinning and gathering down toward the footwear as if they'd been kicked up from the pavement with each stride.

Beyond the pavement metaphor, Richardson saw herself in the reflectiveness."That was the detail that felt most personal", she explains. "At first glance you'd think it was just grey, dark, until you look deeper, and you see the light coming through, the way you can find light even through a storm. That's my favourite element, and it reminded me of myself. The material shows a real depth once you pay attention: different layers, the way I feel like I have different layers as a person. You just have to look deeply".The result is a look that's deliberately imperfect—elegant without feeling too polished or pristine. The washed surfaces introduce a sense of edge, while the crystals, reflective design samba-dyed nylon ripstop and tailored construction bring refinement."We don't want things to be too clean. We're a disruptive brand, and we want that to show up in the design. It should have an element of grit to it", Barbey says.

Roots reimagined

That balance is also what separates the Nike Atelier pieces from their performance origins. The silhouettes themselves are recognisable: a track-inspired jacket, shorts, a crop top, a bustier dress, a running shoe. But each has been reimagined."I call it pattern manipulation", Barbey says. "Taking something like a track top and manipulating it through proportion, volume and pattern".For the jacket, the sleeve volume was intentionally exaggerated. The pattern was developed with a tailor and tested through a toile—a rough mock-up used to perfect the fit. Getting the proportions right took repeated amendments. Pleats add another layer of movement, while the long sleeveless garment underneath gives Richardson a more dramatic silhouette for the red carpet."It was about bringing softness and beauty into it", Barbey says.

That same logic runs through the footwear. The shoe is a <a rel="noopener noreferrer" href="https://about.nike.com/en/newsroom/releases/nike-vomero-plus-vomero-premium-official-images" target="_blank">Vomero Premium</a>, built with the same Air Zoom technology found in Nike's track spikes, and its line is extended through a thigh-high, crystal-dusted sock, a familiar performance shape, stretched into something elongated and new.

Lifting up the athlete

Barbey says achieving successful Nike Atelier looks like Richardson's comes down to listening to and understanding the athlete, however that unfolds."What's amazing about Nike Atelier is that it doesn't have a fixed aesthetic", Barbey says. "It evolves and morphs with the athlete. We try to push the garment, and the athlete, into new spaces that people don't always get to see. Sha'Carri fully trusted us to bring the vision to life".Richardson says the team made it easy to believe in the process."Working with the designers was seamless", she says. "The understanding they had of me as a person meant I could communicate less, because the concept they had was understood and respected from the beginning. It was less offering feedback and more just approving, acknowledging, loving, melding both sides of the partnership to bring out what I feel, what I stand for, through this look",

That long-term trust, built between the brand and its athletes, is the foundation of Nike Atelier. And for Richardson, Barbey's vision was "a sculptural goddess, structured and almost statue-like, softened by an ethereal train".The athlete felt that power the moment she put it on."I feel invincible wearing it, like I was a knight provided with my armour", she says. "I am able to go into war, go into any scenario, knowing I can fully be myself and shine through it all". The look also represents her partnership with the brand, she adds. "These pieces reflect Nike being groundbreaking again, showing up as a partner that sees you as a human before an athlete—but also sees you as an athlete. As our partnership continues to grow, through it all we are always one team, one band, one sound".Asked what she wants people to feel when they see her in the ensemble, Richardson doesn't hesitate."When people see me in this look, reflective, catching the light the way it does, I want them to think: what you see is what you get. That's me. I'm going to keep thriving, keep blossoming. Sometimes I feel like sunshine, bright enough to blind. If you're in the middle of a storm, there's still something beautiful that can be created. Don't stop in a storm".

"When people see me in this look, reflective, catching the light the way it does, I want them to think: what you see is what you get. That's me. I'm going to keep thriving, keep blossoming", says the sprinter.

Nike Running

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At this year's Hyrox World Championships in Stockholm, Dylan Scott has unfinished business.One of the sport's most ferocious competitors, the former doubles world champion finished third at last year's Championships in Chicago. The Nike athlete, who now has his sights set on the coveted individual title, has competed at every World Championship since entering Hyrox in 2021. Each year, he has finished closer to the top. He arrives in Stockholm intent on finishing the job.&nbsp;That he's here at all is remarkable. At 17, a career-altering injury derailed his dreams of becoming an elite runner and the future he'd always imagined for himself. Years later, after rebuilding both physically and mentally, he discovered Hyrox almost by accident. What followed was a steady rise through the sport's ranks that eventually caught Nike's attention. Last year, another long-held aspiration became a reality when he signed with the brand he'd loved for years.He'll tell you that he's not the fastest or the strongest. But Scott has something that's harder to manufacture: grit.&nbsp;Here, in his own words, he reflects on resilience, identity and what it means to win the right way.

I come from Ninety Six, South Carolina—a town of about 2,000 people—and that place shaped the athlete I became.&nbsp;It's actually a revolutionary war battleground, and a lot of our training was out there at the historical site. I ran so many miles on that cross-country course that I could close my eyes and run it in my head. The secondary school track wasn't even six lanes—it was five and a half, because you got to the back, and half of it fell off a hill. The weights in the weight room were all rusty. It wasn't this pretty thing you get with Hyrox, this production. It was grit.&nbsp;You don't always have access to the best things, the best facilities, but if you put your head down, you can start climbing that ladder. I came from doing workouts with tractor chains in the yard to standing on podiums at world championships. That's pretty cool.When you come from a really small town and ascend to a world stage, it instills humility and gratefulness. You start experiencing all of these things that are so big, with so much grandeur to them, but you know where you came from.

It really broke me down as a person when I lost the ability to run. I got injured right before I turned 18. I spent my entire last year of sixth form either on crutches or in a cast, and at points in a wheelchair. It happened when I was running on a treadmill watching the <a rel="noopener noreferrer" href="https://about.nike.com/en/magazine/how-steve-prefontaine-set-the-pace-for-nike" target="_blank">Prefontaine</a> movie. My iPod fell, I did a weird shuffle step and within 15 minutes my right foot was completely dead. Until that point, I had almost inextricably tied my entire identity to running. It was my emotional outlet, my social outlet, my sense of who I was. My sense of purpose was stripped away. I had to sit down and ask: "Who am I? What do I like? What else is going to occupy this space?"&nbsp;Over the four- or five-year span of recovering, my understanding of myself as a person grew so much. Looking back, I'm actually really, really thankful. As much pain as the injury caused me emotionally and physically, it created something in me as a person. It changed who I was and my entire perspective on life.Partnering with Nike was a dream I had that I'd almost let die. I'm so happy I didn't give up. The path I'd always imagined—running collegiately, earning it that way—wasn't going to happen after my injury. At some point, you have to look yourself in the mirror and go, "You're not enough at this. You're going to have to pick a different avenue". That fire had really dwindled down to where there was almost nothing left. But for some reason, it didn't completely burn out.When I did performance testing at the <a rel="noopener noreferrer" href="https://about.nike.com/en/magazine/lebron-james-innovation-center-nike-sport-research-lab" target="_blank">LeBron James Innovation Center</a>, I was working with people who could give me insights I couldn't facilitate on my own at home. The things I could find out about my body, my abilities, things I should change. All of that within that building, it's astronomical. It really could be the difference between where I am now and where I need to get to win it all.

I don't just want to be a winner for the sake of being a champion. I was drawn to Nike because of that same spirit. Nike wins. That's what they do. But they want to win the right way.&nbsp;With respect for the sport and my competition, I'm going to be the best I can be. I'm going to compete against the best competition. But I'm not going to race dirty. I'm not going to sh*t-talk you publicly or try to belittle you. I'm going to create an environment around the race where whoever wins won it fair and square, and against the best version of their competition. I want to be a champion where people say, "This guy did it the right way".I've always been willing to go to a dark place in training, but I've learned not to go there too often. A lot of athletes in sports like Hyrox really value the ability to suffer and sometimes test it too much. You keep checking in: "Am I tough enough? Can I hurt enough?" And what tends to happen is you just burn your body out, because there's only so often you can go to that well and actually handle it and recover from it.Still, I've always told myself that when I refuse to go to those places in training anymore, that's when I'll retire. When I'm at the 45-minute point of a workout, knowing that at 55 minutes we're going to enter that spot, I think, This is going to be hell. But today I'm choosing hell, because I still want to be a world champion.

I give a lot of kudos to my wife, Maria, for pushing me to be uncomfortable and not cling to the past. I was working a corporate job and I was afraid to move on from it because of the security it represented. She said, "You can do this. Please take the step". I was making it work before, but there were leaks in the ship. We're in a new boat now. It sails a lot better. Fewer holes.When you're around your kid, you get to rediscover things through their eyes. Having my son, August, has brought so much joy and perspective into my life. He doesn't care if I'm on top of the podium or not, he just yells for Dada, and that's it. Sometimes right before a race, if I'm in a weird emotional state, I'll think, Let me just hold my son for a second. Twenty seconds of a big hug. And then I'm like, All right, we're good, let's go. Sometimes that's all you need.I value effort over almost anything else. Outcomes take care of themselves when you put enough into them. I want my son to see that. He sees fitness as a lifestyle, he travels to races with us. The first beach he ever went to was in France. I want his life to be full of movement and culture, and I want him to see his dad doing it the right way.I never thought I'd be a world champion or even close to that, but as I stacked bricks over time, I kept getting closer. I kept moving up the podium and now I'm at a point where it's like, It wouldn't make sense if you didn't apply yourself, didn't try. You're too close to it. So the mindset has shifted from just doing something and happening to be good at it to committing to and pursuing being a world champion.

The Nike athlete has his sights set on the coveted individual title and knows exactly what will get him on top of the podium: grit.

Nike Training

For the win

Dylan Scott on the Slow, Steady Work of Becoming a Hyrox Champion

If Cade Cunningham seems comfortable with his back against the wall, trust, he's not resting. In the first Game 7 of Cunningham's career, Motor City watched with bated breath as its stoic leader—two years removed from a 28-game losing streak, six weeks removed from a collapsed lung—willed the Pistons to their first post-season series win in 18 years.&nbsp; Despite being only 24 years of age, this was classic Cade. Bruising bully ball accented by ballerina pirouettes. Quarterback composure when the fans beat the thundersticks and the stakes skyrocketed. The strength, steadiness and stats in that game—32 points and 12 assists, for those keeping track at home—have become expectations for fans, and have long been the calling card for Cunningham.&nbsp; That flair for the big moments was moulded by enduring the difficult ones.&nbsp; In his own words, Cunningham recalls the Arlington upbringing that prepared him for his trial-by-fire NBA ascent. From studying Penny Hardaway to befriending Barry Sanders, hear how adversity and mentorship have forged a focus that teammates trust and opponents fear.

I hate to lose. My dad being a competitor made me competitive. He and my mom being hard workers made me competitive. Watching my older brother and sister compete in sports made me want to compete and be good at what I did.&nbsp; I wanted to be like my brother. It started when I was 4 years old. I was watching my brother play, and I just fell in love with the game. In Dallas, there's competition everywhere. There's a lot of talent and a real sports culture. Being around high-level athletes and competition in the grassroots realm is important, learning what it's like to compete and seeing other kids who are good. Arlington doesn't get that type of credit, but that's how we feel. It's an "if you know, you know" thing for us. I try to clean up things from past off-seasons. I try to be more efficient in how I get my work done and how I work on my skills. I'm trying to be a complete player on both sides of the ball and make sure my mind is in the right space. It's a lot of one-on-one and one-on-none work. Playing five-on-five is the best way to replicate the real deal. I try to get as much of that as possible. I try to keep my body in the best shape possible.

Being confident in your body is a big part of being the player you want to be. I take that more seriously as I get older. It's a dog-eat-dog world. Every game there is high-level competition—especially at point guard. You've got to find ways to impose yourself. Growing up, I was a really good athlete, and I was bigger and stronger than other guys. Getting to the NBA was a big adjustment for me, finding my way against grown men. As I've gotten older, I continue to work at it, and I'm closer to where I want to be. Adversity builds character better than anything else. All the losses have made me the player I am and have allowed me to win the way I have lately. There's still a long way to go, but I definitely lean on the adversity. It's hard in the moment when you're losing, especially as much as we were losing. But understanding all the things I've been through? Those losses didn't make me feel like a loser. I still felt like a winner, somebody who bleeds winning. I had to find what it takes to win in the NBA, and over time, I started to. I'm not all the way there yet. The best coaches I've had coached me hard. Those are the guys that got me better the fastest. Being around people who are so knowledgeable about the game, I want them to use their knowledge to help me improve. People that aren't going to do that? They're not a great fit for me. I don't try to prove to guys that I'm the leader. I allow guys to naturally follow me by being the type of leader that I would want. You have to know who your teammates are as people. Knowing what pushes them, what motivates them and how they react, while meeting them where they are. It's about treating people the way they want to be treated, but also holding your frame.

You have to stay good at things that you're good at. I got to where I'm at by being a good athlete and a good passer. I'm never going to take that away from my game. But you've got to be able to tell yourself the ugly truth about yourself. I have to watch the film when I was terrible and learn from it. I have to talk to people who are great at what they do and dive into their minds. Those things help me. LeBron was my favourite player growing up. I looked up to him, the way he did things on the court and the way he carried himself off the court. KD was a big influence growing up too, and as I got older, I watched Penny a lot, his highlights and tape. That's somebody similar in size to me whose game I liked.&nbsp; When I was young, we said Barry Sanders was the greatest running back ever. He was the coldest one on Madden. Being from Oklahoma State, going to Detroit, and meeting him and hearing he's a fan of my game? It's crazy to me, having a legend like that in my corner rooting for me. I'm a big fan of what he was able to do.

I always played in Nike. I always wore it growing up. So to be on campus now, starting my signature line? It's a dream come true and a blessing. Going back to when I was a kid, the best athletes in every sport wore Nike. Even today, it has the aura of "this is what the best wear". It adds confidence to you.

I really want to make a great basketball shoe. It has to elevate my game and allow me to play at a higher level. And it's all about the star for me. My signature logo, the star, represents something so deep. I want to push light into the world, to inspire people and help communities less fortunate than me. I feel like we're all stars in that way, we're all capable of sharing light. And I want everybody to feel like a star when they wear my shoe. Sometimes I turn my phone off. My loved ones and family don't love it, but disconnecting from social media? I do that a lot. As much as I can, I get outside in the sun. I mix it up. I like going to a beach; I like playing golf or pickleball; I'll go on a hike or ride a bike; I'm down. If I'm in the sun? I'm good.

The Detroit Piston point guard has ascended from Nike EYBL MVP as a high schooler to All-NBA First Team in his fifth season. He says he's thankful for all the bumps and bruises along the way.

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A neuroscientist, a computational engineer and an industrial designer sit at a desk, poring over the latest electroencephalography (EEG) and pressure-mapping results. Down the corridor, pressure plates respond to steady footsteps while motion-capture sensors blink to life as another round of testing begins.This isn't a scene from a NASA work room or sci-fi Hollywood blockbuster—it's a typical day at the <a rel="noopener noreferrer" href="https://about.nike.com/en/magazine/lebron-james-innovation-center-nike-sport-research-lab" target="_blank">LeBron James Innovation Center</a> and its top-floor Nike Sport Research Lab (NSRL), where dozens of scientists, engineers and designers come together to study every element of human performance.&nbsp;While many people know this facility exists, few understand the full scope of its work, or that the research extends beyond the physical and into the mind itself. Led by world-renowned neuroresearchers, Nike's Mind Sciences team is devoted to exploring how the brain and body interact to shape the future of athletic performance.

Their latest breakthrough, <a rel="noopener noreferrer" href="https://about.nike.com/en/newsroom/releases/nike-mind-001-mind-002-official-images" target="_blank">Nike Mind</a>, is a sensory footwear platform more than a decade in the making that aims to redefine how athletes prime for and recover from competition.&nbsp;We sat down with seven Nike Mind teammates to learn how this long-awaited technology moved from concept to reality.

THE NEURAL ARCHITECT: GRAEME MOFFAT, PHD Principal researcher, Nike Sport Research Lab As principal researcher on Nike's Mind Sciences team, Graeme Moffat leads the neuroscience behind Nike Mind—decoding EEG readouts, pressure maps and muscle signals to understand how sensation shapes focus and performance. With a background in brain-computer interface research, he's helping translate the science of perception into design principles that can be felt underfoot. For Moffat, this project isn't just about a new shoe. It's about proving how the mind and body can be trained together through sensation.One of the easiest ways to get out of your head is to get into your body—to actively engage your senses. With Nike Mind, what we see in the brain is increased activity in the sensory motor network and a rise in alpha oscillations linked to relaxed alertness.&nbsp;Like your hands, the bottoms of your feet have unique skin with 10 to 20 times more mechanoreceptors than most other areas. These are the parts of our body to feel and navigate the world. To complement this, each node in Nike Mind moves independently, shifting slightly to translate force through the bottom of the foot. The result is a more direct connection to the ground.We used sensory science to determine the placement of the 22 nodes. By measuring what's called the two-point discrimination threshold—how far apart touches have to be before you feel them as separate—we were able to map the density of receptors across the foot. That's why nodes are more closely spaced in the forefoot and wider apart in the heel.We used everything: underfoot plantar-pressure sensors, electromyography of the lower limbs and human EEG. Athletes walked in the shoes and comparator models while we measured their brains before, during and after. What we saw were clear differences in brain activation and oscillation patterns, signals that reflected how the sensory system in this shoe was activating the brain. This is a completely new way to make footwear, designed from the sensory system outwards. It took nearly 10 years of research and iteration to make it work.It is incredible technology. It's like a walking anti-fatigue mat built into my shoes. It's just a fantastic feeling. I don't want to take them off at the end of the day.The Mind Sciences team itself is unique. We have neuroscientists, perception researchers, physiologists and engineers all working together. It's a mix of disciplines that normally don't sit inside a company like Nike, and it allows us to move from deep scientific insight to real product innovation quickly. We can prototype, test with athletes and iterate at a pace no one else can. It's a capability that sets Nike apart.

THE BRAIN MAPPER: TREVOR BARSS, PHD Lead researcher, Mind Sciences team Working alongside Moffat, Trevor Barss helped run the early neuroscience studies that defined Nike Mind's foundation. A sensory neuroscientist specialising in neurophysiology, he used EEG and other measures to study how tactile feedback changes patterns of brain activity, the signals linking movement, focus and awareness. The team's findings revealed distinct shifts in sensory-motor activation and alpha rhythms when athletes wore Nike Mind footwear, insights that continue to shape how the NSRL explores the mind-body connection.For the first 45 years, Nike's research focused on the body from the neck down. The next forty-five will include the brain.&nbsp;My role was to study unique aspects of brain activation while athletes were wearing the footwear. We measured electrical activity in the brain before, during and after movement and paired that with perception data. The goal was to connect what athletes reported feeling with what we could actually see happening neurologically.We found that this collaboration between perception and neuroscience is what gives the work its power. You might detect increased activation in one region of the brain, but without understanding the athlete's experience, you don't know whether that's good or bad. When you combine both, you get meaning.When I first arrived at Nike, I was amazed by the environment. In most research settings, if you want to talk to an expert outside your field, you email, you schedule, you wait. Here, I can walk three desks over and have a conversation with someone who is a world-class expert in biomechanics, physiology or materials science. That proximity accelerates everything.The strength of this lab is its seamless flow of expertise. Neuroscientists, engineers, designers and developers work side by side, testing, iterating and learning from each other in real time. It removes silos and sparks ideas that none of us could reach alone.We're at the starting line of an entirely new field. The methods are established, but applying them to footwear and apparel is uncharted territory. Each experiment raises new questions.For me, the most inspiring part is being surrounded by brilliant minds who share that curiosity. When you pair deep scientific expertise with creative-design thinking, you open doors to discoveries that redefine what performance can mean.Looking ahead, the possibilities are endless. We have sensory receptors all over our body. Any time you change sensory input, you're interacting with your nervous system. Delving into that connection could open up whole new ways of supporting athlete awareness, focus and recovery.

THE ENGINEERING WHIZZ: ELIZABETH RAISSIAN Senior director, Performance Engineering Inside Nike's Performance Engineering Lab, Elizabeth Raissian's work lies at the intersection of product functionality and code. For Nike Mind, she and her team built the digital framework that made the concept manufacturable at scale, using Finite Element Analysis (FEA) and simulation tools to model how each node, flex point and pressure zone behaves underfoot. Their modelling ensured a precisely tuned sensorial design that delivers consistent feel and feedback across every size and stride.The big unlock was using computational methods to crack the scale challenge. Nike Mind has many small parts within a larger system. We wrote scripts that determined where each node needed to be for athlete performance and how those placements could still be manufactured consistently.Our goal was to make sure every athlete has the same experience no matter their shoe size. We used FEA to test variables like node size, height and material. That helped us identify the sweet spot between too much and not enough sensation. Once we had that, we could scale it proportionally across sizes so the product felt consistent from end to end.For me, this has been a dream job I didn't know existed. I get to combine tough technical work with the creativity of working alongside designers, sports researchers and other specialists. After 23 years, I still haven't been bored.What excites me most is how fast the tools are evolving. We've built a strong foundation and now new technologies are coming in that let us do things we wouldn't have thought possible a decade ago. It changes how we approach products and opens doors for the future.

THE BRIDGE BUILDER: SEAN LU Footwear developer For more than two decades, Sean Lu has helped take Nike's boldest concepts from prototype to production. As a developer, he works at the crucial handoff point where innovation meets scaling the shoe production for Nike's business. On Nike Mind, that meant solving unprecedented production challenges like how to create and bond 22 independent cushioning nodes while preserving the precise sensory design that makes the technology groundbreaking.My expertise is to bring a design to life by practising project management and leadership while working closely with many different functional teams. The goal is always both team excellence and product excellence, making sure the product meets the brief, the design intent, is tested and proven.The biggest challenge was producing and attaching 22 individual nodes in a consistent way. Regular shoes might have five or six major parts. Here we had 22, each needing to be made and bonded precisely. Solving that required new methods of make very different from conventional shoemaking.One crucial breakthrough was the stretchy strobel. In normal shoes, it's stiff. But here, it had to stretch multidirectionally so the nodes could move freely and transfer sensation. Without that, the whole system wouldn't work.There were moments we thought, this is too difficult, maybe we can't do it. But we always asked ourselves: are we truly doing the best we can or is there another way? Once you achieve it, the value for the athlete makes it all worth it.

THE CREATIVE VISIONARY: ERIC AVAR VP, creative director, Innovation Few designers have shaped Nike's visual and performance language more than Eric Avar. After spending decades creating some of the brand's most iconic footwear from Foamposite to Free to the Kobe line, Avar joined the Nike Mind project to help translate complex neuroscience into design. His focus: find simplicity, stay curious and create a shoe that reawakens the body's natural connection to movement.What made this project next-level was the chance to forget everything we knew about traditional footwear. Instead of chasing propulsion or flight, we asked how to create a more natural sensory underfoot experience—one that could strengthen the mind-body connection to help make athletes feel calm, focused and present.My role was to help guide the creative vision. To connect the macro and micro details of science, art and story. The best ideas happen when those dimensions align. My job was to help the team see the true north and to bring clarity to how the science should feel once it's on foot.Every dimension of this project was new—new science, new engineering, new design language. Each insight from the lab reshaped how we approached materials or geometry and every prototype fed new questions back to the scientists. That constant back-and-forth was where the breakthroughs happened.Performance design is always a balance. Too much cushioning and you lose sensation; too much sensation and it becomes overwhelming. Our challenge was to find harmony between comfort, clarity and awareness.This feels like a new frontier—a new paradigm of performance. We're proving through science, but we're also discovering through intuition. The more we lean into that mix of curiosity and expertise, the more magic we'll uncover.What I love most about this new technology is that it represents the unknown. It's a reminder that performance isn't only about going faster. It's about feeling more, thinking deeper and reconnecting with the moment.

THE MASTER ORCHESTRATOR: MATTHEW NURSE, PHD Chief science officer, NIKE, Inc. With a background spanning biomechanics, physiology and performance research, Matthew Nurse has guided Nike's most ambitious science-led innovations. As chief science officer, he oversaw the Nike Mind project from a multidisciplinary vantage point, coordinating scientists, designers and engineers to keep the various parts moving in sync.Most people don't fully appreciate the importance of sensory feedback from the body, especially the feet. The foot is full of thousands of sensors that give the brain constant information about balance, position and spatial awareness. This is the first product built with the intent of influencing that feedback to help athletes stay focused, present and more aware of their environment.If the body is the engine, the mind is the driver. With Nike Mind, we're starting to think about how to make the driver sharper and clearer. Mental preparation has become just as important as physical, and we're only scratching the surface of what's possible.Science and creativity have to leapfrog each other. Science shouldn't limit dreams, but it can help target them. Some of these concepts aren't new, but only now do we have the design and manufacturing capabilities to make them real. Building floating, independent nodes that compress and rotate to deliver sensory information to the brain wasn't possible 20 years ago. Today, it is.Athlete feedback drove everything. We went through hundreds of iterations, tuning the number, density, flexibility and placement of the nodes to make sure the sensation was enough to feel and focus on, but not so much that it became distracting. It had to be "just right", and only athletes could tell us where that balance was.The beauty of Nike Mind is that beyond feeling grounded, you are grounded. Using tools like EEG, we've measured changes in brain activity in the areas linked to focus and presence. That's the first time we've been able to show—and prove—that footwear construction can influence how the mind works.And this is only chapter one. We've focused on the body for decades. Now, as we look at the mind alongside it, the opportunities for athletes are limitless.

THE PROBLEM SOLVER: BRYAN YOUNGS Innovation programme director, Footwear Bryan Youngs brings more than 20 years of footwear expertise focused on transforming innovation into manufacturable reality. For Nike Mind, he led the scale-up effort, translating a handcrafted sensory prototype into a system that could be produced consistently and reliably. By bridging advanced innovation with global manufacturing, he helped ensure the concept could move from lab experiment to product launch.The idea of sensory footwear has been around for a decade, but the challenge was scale. For years it was an arts-and-crafts project—something&nbsp;you could hand-make but not mass-produce. With Mind, we had to move past that to create something we could build with our manufacturing partners while still preserving the complex architecture underfoot.With our manufacturing partners, we developed a system that simplified the build from dozens of individual attachments down to just a few key steps. That shift allowed us to replicate the sensorial experience athletes loved from the earliest prototypes while making it manufacturable at scale.Our willingness to wrestle with the hardest problems is something that makes Nike very unique. We'd failed to solve sensory footwear for 10 years, but each attempt taught us something. We have the willingness to keep asking the big questions and then the patience and persistence to finally crack them. With these two new products, we're just getting started. <a rel="noopener noreferrer" href="https://about.nike.com/en/topics/nike-football-2026" target="_blank">See more of our universe of Nike Football.</a>

Rachel Cavanaugh is a Portland-based freelance writer who covers food, lifestyle, travel, fitness, adventure and the outdoors. Her work has appeared in Men's Journal, Outdoor Life, GearJunkie, MSN, Yahoo, The Independent, The Hollywood Reporter, Digital Trends, Bustle, Elite Daily, Mic, Travel Oregon, Matador Network and others. She has a background in digital production and brand storytelling and holds a journalism degree from the University of Montana.

Rachel Cavanaugh

It took more than a decade to crack it: shoes that can connect your body to your mind to help you stay calm, focused and present.

Zach Doleac's work is as eclectic as he is, a tasteful blend of polish and grit. His imagery forges honest connections with real people—from boxers in Goma to refugees in Beirut, clowns in Cairo and cowboys from Polson to Houston.&nbsp;When not on assignment, Zach is rarely still, pedalling around the Pacific Northwest, grooving to a beat or sliding on snow, usually in the company of his pup, Frida.&nbsp;You can find more of Zach's work on his <a rel="noopener noreferrer" href="https://www.zachdoleac.com/" target="_blank">website</a> or follow him on <a rel="noopener noreferrer" href="https://www.instagram.com/zachdoleac" target="">Instagram</a>.

Zach Doleac

Nike Sports Science

Innovation

Inside the Nike Mind Team That Turned Neuroscience Into Footwear

Bringing Sport Science to Our Products

25 January 1964. Saturday.The Beatles registered their first number-one hit song in the United States: "I Want to Hold Your Hand".And on a cold, rainy day in Portland, Oregon, a coach and his former athlete met for lunch at the Cosmopolitan Hotel to discuss a possible business partnership.One hour later, Phil Knight and <a rel="noopener noreferrer" href="https://about.nike.com/en/magazine/bill-bowerman-nike-s-original-innovator" target="_blank">Bill Bowerman</a> stood, reached across the table and shook hands. Blue Ribbon Sports was born.To understand how two Oregonians arrived at that moment—and why it held—we have to go back a decade, to a teenager who had just been cut from baseball.

The Beginning

Phil Knight grew up in Southeast Portland and went to Cleveland High. As he tells it, he was the last cut on the sophomore-and-under baseball team—a decision that stung."I was heartbroken but my mum said, 'You are not going to mope around the house. You're either going to get a paper route or go out for track'. Well, that was easy. I went out for track".That decision set him on a course that would change his life, and, eventually, the sports world.Knight tried out for athletics and quickly found his stride. While he was physically smaller than his teammates, he was fast, competitive and willing to work.At one early meet, his father, William, a labour lawyer who would later become publisher of the Oregon Journal, introduced him to Oregon athletics coach Bill Bowerman. The two older men had attended the University of Oregon together. That day was his first introduction to the coach who would later shape his life.By then, Knight was already starting to win and place in local races, enough to earn a name in Oregon's competitive prep scene. During his junior year, he spotted a headline that stuck with him: Bill Dellinger, a runner from the University of Oregon, who had just won the mile at the national championships under Bowerman's coaching."It was startling", Knight said. "It was a huge headline in The Oregonian and that's when I became aware of Bill Bowerman and what a phenomenal programme he had".

The Hamburger of Runners

Although small and lean, Knight never let size hold him back. In 1955, he played on Cleveland's city-championship basketball team, finished second in the league 880-yard (805-metre) run and took fourth at the state meet. By autumn, he'd earned a spot on Bowerman's athletics and cross-country teams at the University of Oregon.Long before his first practice, though, his father had already turned to Bowerman for guidance—an early glimpse of the connection that would define both men's careers. Curious to get the coach's perspective on whether Phil should attend university or join the military, William Knight wrote to him that autumn.Bowerman replied with his trademark mix of bluntness and care."My first concern is for your young man's education", he wrote. "All will not be fun and frolic. It takes hard work for success in anything … it is a privilege to have your son here, also a responsibility for me, for you and for him".

Like many freshmen before him, Knight soon learned what that meant, struggling under the bombastic Bowerman. "After my freshman year, I had to sit down with myself and ask if I was going to go back to that crazy man, or not", Knight recalled. "I realised if I go back, I'm just going to have to do things his way because he's not going to change. So, I went back".That decision proved pivotal. Bowerman saw potential in Knight—not&nbsp;as a star runner but as an ideal test subject. "I wasn't one of the best runners on the team", Knight admitted. "Bowerman knew he could use me as a guinea pig without much risk".He called Knight the "hamburger" of runners—hearty stock, forgiving, determined—and began using him to test early shoe prototypes. In August 1958, Bowerman sent Knight a letter outlining his summer training plan and added a postscript, "If you have a pair you think would make good flats, send them down. They'll be ready when school starts".The pair Knight received that autumn featured an experimental white, rubber-coated fabric—"the kind you'd use for a tablecloth you could sponge off", Bowerman later said. They were crude, functional and a glimpse of what was coming. The coach was still years from finding a manufacturing partner, but his drive to build a faster, lighter shoe had already found its first willing tester.

From Athletics to Business

By the time Knight graduated from Oregon in 1959 with a degree in business, his competitive drive had shifted from athletics to the classroom. The next stop was Stanford, where he enrolled to pursue his MBA.At first, his path seemed uncertain. But during his final year, a class called "Small Business Management" caught his attention. It was a class that would quietly spark the idea of a lifetime."It was the only entrepreneurship class, so it was one of the classes that I was most interested in", Knight said.&nbsp;He developed a strong rapport with his professor, Frank Shallenberger, who assigned the students a simple but open-ended project: invent a new business, define its purpose and create a marketing plan to support it.Knight had recently overheard a conversation among photographers at the Oregon Journal, where he'd worked summers during university. They were talking about a surge of inexpensive Japanese cameras that were starting to rival the more powerful and costly German models."Electronics was a popular topic at that time and the smart kids chose to write about things like that", Knight said. "But I didn't know anything about electronics, so I wrote about something that I did know about—shoes".Drawing from his experience as one of Bill Bowerman's wear-testers, he built his hypothetical company. By 1962, German sports shoes were on the rise in the US—high quality, yes, but expensive. Knight saw an opening.He turned the idea into a paper he wrote almost literally overnight with a single bold hypothesis: Can Japanese sports shoes do to German sports shoes what Japanese cameras did to German cameras?Knight argued that Japanese-made running shoes could compete on both price and quality with the dominant German brands. Knight received an "A". When the assignment was over, he couldn't shake the idea. "I wrote a letter of enquiry to virtually every Japanese shoemaker that I could find".Only one company replied: the Kow Hoo Shoe Company of Hong Kong. The letter, written in imperfect English, was polite but discouraging."It is with regret to inform you that due to lack of [such] equipment and material, we can hardly manufacture [such] type of shoes and trust that every shoemaker in Hongkong (sic) fails in doing so. We are expert in manufacturing golf shoes, skating boots and bowling shoes, etc.".It wasn't the answer Knight had hoped for, but it didn't matter. A seed had been planted that would soon take root.Shaken but not deterred, he was about to face the opportunity of a lifetime.That story—and more—will come in future Department of Nike Archive features on The Record.

Born of need and elevated by expertise and diligence, today the Department of Nike Archives (DNA) cares for hundreds of thousands of artefacts and a limitless vault of connected stories.&nbsp;The brand archive began organically in the 1970s and officially became DNA in 2006. The department's purpose is to both preserve and accelerate the ever-evolving and interconnected story of Nike. "Knowing who you are and the fights you've come through can do huge things for morale, inspiration and creativity. That's what DNA provides". - Phil Knight

Department of Nike Archives

Go behind the scenes of the famous business deal between Phil Knight and Bill Bowerman—co-founders of Nike.

Nike Heritage

The Handshake That Started It All

Walk through NIKE, Inc.'s global campus in Beaverton, Oregon, and you'll experience a place defined by both its scale and the life within it.This isn't an office park or even a corporate headquarters. It's a world. And it's one built around sport, where movement, the landscape and daily life intersect in ways that feel all-encompassing.Spanning more than 400 acres, this rolling campus has buildings named for legendary athletes and running paths that wind past football pitches, a lake and cutting-edge innovation labs dedicated to the future of sport. It's an intentional, expansive environment.Last autumn, this city within a city, teeming with thousands of employees, was given a new name: the Philip H Knight Campus, honouring its visionary co-founder whose restless belief in athletes&nbsp;and innovation helped build the company from a fledgling startup into a global force.But long before this campus existed—before the full-size track, the 11-lane pool and 30-foot-high (9m) rock-climbing wall, the tens of thousands of square metres of athlete buildings or the world-renowned <a rel="noopener noreferrer" href="https://about.nike.com/en/topics/next-level" target="_blank">Nike Sport Research Lab</a>—Nike had no headquarters at all. In 1964, it was known as Blue Ribbon Sports, and it had far humbler surroundings.

Before There Was a Campus

In April 1964, a delivery of 300 pairs of shoes arrived at the home of Bill and Lota Knight on SE Claybourne in Portland. Their 26-year-old son, Phil Knight—known to friends as "Buck"—was beginning his shoe business, and he stacked the boxes in the basement laundry room.This space became, quite literally, the company's first office."I don't remember if I asked them", Knight later recalled in an interview with the Department of Nike Archives. "I just moved the shoes in".

From there, Knight would load the shoes into his Plymouth Valiant and drive to high schools around Portland, trying to sell them directly to runners. Sometimes the athletes didn't have cash on hand, so they would come by the house later to buy a pair."It was pretty amazing that they could find their way", says Knight. "We were on a one-block street that was hard to find".As Knight's shoe company, Blue Ribbon Sports, grew, it decamped from his parents' basement, but stability was still years away.The first official office opened in 1967 at a small building at SE 50th and Powell Boulevard in Portland. Rent was only $50 a month."It was cheap", says Knight. "Cheap and available".Inside, the tiny space served as nearly everything at once: home office, warehouse, sales office and retail store. Orders were packed in the back, invoices typed at the front desk and deliveries dispatched by hand."We'd get an order and go back and pack the shoes in a box", recalled Bob Woodell, an early employee and the company's first chief operating officer. "Then we'd come up front and type up the invoice, address and stamp the envelope, and mail it out. Those were the days when if you could get a 10-pair order, you'd be in heaven". It wasn't exactly a quiet office space. At exactly 4pm, the jukebox next door at the Pink Bucket Tavern would kick on, its bass vibrating through the wall."You could set your watch by it", recalled Woodell. "Boom, boom. You'd know it was 4 o'clock".The Powell office was the first stop in what became a nomadic stretch for the young footwear company.During the next decade, Blue Ribbon Sports moved repeatedly—from its first offices in southeast Portland to Tigard's Horace Mann building, then to Beaverton and back to Tigard, near Nimbus Drive, before returning to Beaverton, where the company operated out of a pair of offices on Murray Boulevard known internally as "Murray I" and "Murray II". Along the way, it also established its first dedicated product warehouse on Burnside in Portland, separate from its office spaces. By this point, it had claimed its permanent moniker—Nike,&nbsp;after the Greek goddess of victory.By the early 1980s, Nike employees were scattered across more than 20 buildings throughout the Portland area. The company was growing rapidly, but it didn't yet have a true home base.

A Place to Unite the Team

Nike knew it needed to bring everyone together in one location."We were spread out in buildings all over Washington County", says Knight. "When we could move to a central place, we felt we could improve communications between the various departments".There was also a perception problem. The company was gaining momentum as a major global business, but it didn't yet look like one.

"[We] had some traction, but we had no presence", recalled Jim Robison, who joined the company in 1979 and later helped lead the campus project. "People were flying in from Asia and Europe, and they'd come to a little 40,000-square-foot building across the street from K-Mart. Then they'd have to get back in the car and go someplace else for a meeting, have the meeting, then get back in the car and go back".Nike needed more than space. It needed an environment that reflected what it was becoming.

In 1984, the company found that physical grounding in a 75-acre parcel just north of its existing offices in Beaverton. Nike purchased the land for $5.5 million in cash, securing the footprint for what would eventually become its permanent world campus.But construction didn't begin right away."We decided we didn't want to move on building the headquarters until we really understood what our brand stood for", says Knight.That clarity came in 1987, when Nike <a rel="noopener noreferrer" href="https://about.nike.com/en/magazine/full-court-press-how-nike-found-its-footing-in-college-basketball" target="_blank">sharpened its core identity</a>.&nbsp;"By 1987, we said we were going to be a performance company", says Knight. "We were going back to our roots—that was our focus".With that came a bigger question: if Nike was becoming a global company, what should its world headquarters look like?

Designing a Sense of Place

When construction began, the goal wasn't just to bring people together. It was to create a place that felt fundamentally different from the offices it had outgrown."We wanted a campus atmosphere because everybody is a junior in college at heart", says Knight. "We wanted a place where you could get your work done, but also a place you wanted to be". That idea became the foundation for everything that followed.

Rather than a single high-rise, the new headquarters would take shape as a collection of buildings organised around shared spaces, more like a college quad than a corporate office park. There would be room to move, gather and think.&nbsp;Early buildings were designed with places to eat, meet and reset. The Joan Benoit Samuelson Building, for example, functioned similarly to a student union, with a cafeteria, small shops and informal gathering spaces that drew employees together throughout the day. Weekly gatherings like the "Thirst Thursday" summer beer garden brought together employees across roles and tenures in a way that blurred the lines between departments.

"Everyone from rookie hires to senior executives bumped elbows and lifted pints together", recalls Nike historian Scott Reames. "It was a relaxed atmosphere that encouraged employees to let off a little steam and also meet Nike colleagues from across every department".Nearby, the Bo Jackson Fitness Center served as a campus recreation space, with workout facilities and fields that hosted intramural sports."Employees would be surrounded by each other all day, every workday—in their offices, at lunch, at the gym and on the jogging trails. This proximity promoted spontaneous interactions, facilitated collaboration and fostered a sense of community", says Reames.

Incorporating Natural Elements

Nature wouldn't be pushed away or relegated to an afterthought. It was central to the campus design.At the heart of the grounds, a man-made lake was introduced, with buildings arranged carefully around it. Rather than treating water and landscape as obstacles, the team chose to build with them, shaping the campus around the environment rather than forcing the environment to conform.

The earth that was removed to create the lake became a berm surrounding the campus—a quiet, tree-lined buffer that separated the company's space from the outside world while creating running paths that looped through the property.The effect was intentional. Drawing inspiration from the contrast of dense urban life and quiet interiors he had experienced in Japan, Knight envisioned a place that offered a sense of calm after the intensity of work travel."You'd go out and fight the wars", he says, "and you'd come home and just want a place where there was peace".

Even the buildings themselves reflected that thinking. Kept relatively low in the beginning, they were spread across the landscape to take advantage of light, space and the surrounding environment. With more land available, Knight and his leadership team made the decision to build outward rather than upward, favouring four-storey structures over taller towers. Inside, design decisions prioritised openness and movement, with elements like expanded stairways introduced to bring in more daylight, even at the expense of usable office space.From the beginning, the campus wasn't just built to house a business. It was built to reflect its identity as a company shaped by athletes and the environments they move through.

Built Around Athletes

As the campus took shape, even its buildings' names reflected the company's values.Early plans that referred to the buildings simply as "A", "B" and "C" were scrapped in favour of a system that better aligned with Nike's sports culture."I said, 'If you want to name our buildings that way, you're going to have a heck of a time'", recalled project leader Howard Slusher. "'It doesn't seem like who we are. Why don't we just name them after our athletes?'"That thinking reshaped the plan. Buildings were named for athletes who stood apart in their sport—Hall of Famers, figures who were head and shoulders above their peers.The first buildings were named for icons like Steve Prefontaine, Joan Benoit Samuelson and Michael Jordan, a precedent that would continue as the campus grew.

The original campus came to be over a two-year stretch, beginning in 1990 with buildings such as Mike Schmidt and Michael Jordan, and continuing through 1992, culminating with the Nolan Ryan Building.For the first time, the company had a place designed for how it worked—and for what it aspired to become.It wasn't just a headquarters. It was a foundation."Bringing the Footwear Design and Apparel Design teams together created amazing synergy", recalls former Design Director Wilson Smith, who spent more than 40 years with the company. "We were separated only by an internal bridge between the two sides of the building ... I don't think it was coincidental that we look back on the 1990s as the golden age of product design".

Expansion and reinvention

Growth came quickly—and in waves.By the late 1980s, construction was moving in step with the company's momentum, with new buildings added as demand surged. Nike officially dedicated its new headquarters in October 1990, bringing together employees who had long been spread across the region.The pace didn't slow. Within a decade, Nike expanded the campus significantly, roughly doubling its footprint as the business surged in the 1990s. The athlete-naming tradition continued, with buildings honouring figures like Ken Griffey, Jr, Mia Hamm and Jerry Rice, reinforcing the connection between the company and the athletes it served.

The next phase wasn't just about scale but also capability.As Nike entered the late 1990s and early 2000s, the campus evolved to reflect a company no longer building with contingency in mind, but rather with confidence in its trajectory."The original campus was laid out in such a way that if Nike's business took a sharp downturn—which was a threat in the 1980s—one or more of the buildings could be sold off or rented to another company", explains Reames. "But the explosive growth in the 1990s cemented the idea that the second expansion would need no back-up plan, and the layout of the new buildings reflects that air of permanency".New facilities were larger, designed to support a rapidly expanding workforce and the increasingly complex demands of a global brand. Additions like the Tiger Woods Center, dedicated in 2001, created space for large-scale gatherings, from sales meetings to product launches, that previously required off-site venues. Each building expanded not just how much space Nike had, but what the campus could do.

The evolution culminated in a sweeping modern expansion that reshaped the campus once again.Beginning in the late 2010s, Nike undertook a major development project that included three major new buildings across thousands of acres and more than 1.1 million square feet (102,000 sq m) of new space. The expansion introduced a new architectural language—darker, more minimal structures designed with sustainability, performance and collaboration at their core—and brought together research, design and product creation in closer proximity than ever before."Nike leadership wanted world-class architecture that captured the ethos of the brand and reflected Nike as a leader", says Gene Sandoval, partner, ZGF Architects, who led the design of the Sebastian Coe Building, which opened in 2018. "Seb Coe was designed to represent movement, dynamism and be an inspirational creative office space nestled in the North Wood Forest".Nike knew what it wanted from its structures. When Sandoval would bring plans to Knight and Howard Slusher, they would tell him to "go bigger". Knight's philosophy was simple: if Nike was going to do this, it was going to do it big. Sandoval says he was continually struck by how seriously they took the idea that architecture should carry the culture and ethos of the brand.That vision shaped every detail of the Seb Coe Building. Nestled in the North Wood Forest—and originally named for that forest—the building was designed around preservation. They were asked to preserve as many trees as possible, and they wanted the interiors to feel like you were part of the surrounding woods. This can be sensed strongly in the cafeteria, with the floor-to-ceiling windows looking out over the forest. The building was meant to feel like it was coming out of Oregon.In its cantilevered front, a water element anchors the structure's most striking feature. The original plans called for the cantilever to reach 60 feet (18.2m) from base to tip—until Sandoval showed them to Mark Parker, who pushed for more. They ended up doubling it. At 120 feet—36.5 metres—it stands as an engineering marvel unlike any other building in Oregon.At the centre of the architectural transformation was the <a rel="noopener noreferrer" href="https://about.nike.com/en/newsroom/releases/inside-the-nike-sports-research-lab-lebron-james-innovation-center" target="_blank">LeBron James Innovation Center</a>, which opened in 2021, representing a sea change in how Nike develops product. At its core was the groundbreaking Nike Sport Research Lab (NSRL), a world-class innovation laboratory built to study athletes in motion. Equipped with hundreds of motion-capture cameras, dozens of force plates and advanced testing environments, the lab allowed researchers, designers and engineers to observe performance in real time and translate it directly into innovation."The NSRL is the epicentre of where we work with athletes of all abilities, all backgrounds, all skills and all sports", says Matthew Nurse, Nike chief science officer.If the LeBron Building represented a leap forward in sport science, the <a rel="noopener noreferrer" href="https://about.nike.com/en/newsroom/releases/inside-the-serena-williams-building" target="_blank">Serena Williams Building</a> reflected an equally ambitious investment in creativity.

Opened in 2022, the 1-million-square-foot structure (93,000 sq m) is the largest on campus and one of Nike's most significant commitments to design. It brought together teams across product, insights and merchandising in a single space, designed to accelerate collaboration and push new ideas from concept to reality. Dedicated labs, immersive environments and expansive showrooms allowed teams to test, visualise and refine ideas at scale."The whole building takes your breath away", says Serena Williams of the building named after her. "Every element, everywhere you go, is an opportunity to be inspired".The more recent additions marked a new era for the campus, one characterised not just by growth, but by integration. Science and creativity, research and design, all working side by side.

A Rare Workplace

Taken together, decades of considered decisions have created something rare at the Philip H. Knight Campus: a workplace that operates at the scale of a global company, but can feel like a personal, immersive home for its teammates.For first-time visitors, the impression is immediate. Walk the campus, and open fields and tree-lined paths reshape your sense of distance. Crossing from one side to the other can take 15 minutes or more, and the setting shifts constantly, from wide-open spaces to scenic stretches that feel hidden within the landscape. Like any special space, the people give it its energy. Teammates pass one another between meetings, mid-conversation or mid-stride in moments that feel closer to a university campus than a corporate office, raising quick waves as familiar faces cross paths throughout the day.

It's the kind of place Phil Knight envisioned early on. Somewhere you come back to reset and prepare to go again."I worked at Nike for 30 years and studied it closely as the company's historian for 17, and I truly believe that the creation of what is now the Philip H. Knight Campus was a catalyst that fostered an unprecedented era of creativity and innovation", says Reames.&nbsp;"If the Nike campus is the nucleus, then its employees are the electrons, bouncing off one another to create energy, light and ideas".

A new name, a lasting legacy

For more than three decades, the campus has been known simply as Nike World Headquarters, the centre of a company that grew from a basement operation into a global force.In 2025, it was officially renamed the Philip H. Knight Campus, cementing its connection to the company's co-founder."This is more than a name change", wrote <a rel="noopener noreferrer" href="https://about.nike.com/en/magazine/elliott-hill-ceo-of-sport-interview" target="_blank">Elliott Hill, president & CEO, NIKE, Inc.</a>, in a letter to Nike employees. "It's a tribute to the man whose vision created a global movement. And it's a reminder,&nbsp;to every one of us who will walk these paths and run these fields, of what can happen when belief meets action".The renaming will be formally marked on 21 May 2026, a moment designed to bring the Nike community together around the legacy—and future—of a space that has shaped the company for more than 35 years.In that sense, the renaming doesn't mark a new chapter as much as it clarifies the one Nike has been writing all along. From a basement laundry room to a world headquarters spanning hundreds of acres, the throughline remains the same: a belief in athletes, in innovation and in knowing that the greatest is always yet to come.

From a basement laundry room to a global headquarters spanning hundreds of acres, the throughline for the space remains the same: a belief in athletes, in innovation and in knowing that the greatest is always yet to come.

The Definitive History of Nike's World Campus

When Marquis Mills Converse founded his eponymous company in 1908 in Boston, Mass., his mission was to create an operation that functioned independent of the industry's monopolies, rooted in a community of the best rubber shoemakers. His first products were galoshes and waterproof winter boots, which meant demand for his wares dipped in warmer seasons. To keep his highly skilled craftspeople occupied year-round, Converse needed a summer offering. A canvas tennis shoe with a rubber sole debuted in 1910, but the company's true breakthrough didn't come until it saw an opportunity to apply its signature innovations to a sneaker expressly designed for a then-newfangled local sport: basketball.Invented in 1891 in nearby Springfield, Mass., basketball was growing in popularity and being adopted by regional colleges when Converse introduced its "Non-Skid" shoe in 1917, defining the design as the "All-American basket-ball shoe". It was crafted on the company's original dress shoe last with two-piece quarter for superior ankle fit and paired with a non-skid sole that employed Converse's patented diamond-tread pattern.&nbsp;

The sneaker was first marketed to the area's coaches, who provided Converse with constructive feedback, including noting that they'd prefer a darker canvas upper because the light tan hue revealed too many scuffs and dings. In response, the company created a dark brown version of the Non-Skid, featuring black trim up the eye row. The iteration was officially branded the "All Star" in 1919, kicking off a new round of basketball-specific innovations that came to characterise the silhouette as the leading performance basketball shoe of the next half-century.As for the shoe's namesake, Chuck Taylor (aka Charles Hollis Taylor), he arrived a few years later.

True to its name, the Chuck Taylor All Star was worn by basically every top basketball player pre-1965. These athletes included players competing on the world's biggest stage in 1936, when Converse equipped the US men's basketball team with white Chucks featuring red and blue stripes on their foxing tape. The custom version was such a hit that competing teams adopted it, and the colourway was permanently added to the product line. In 1939, America's first national college basketball championship featured players in Chucks. In 1962, basketball's professional single-game scoring record&nbsp;of 100&nbsp;points was made in Chucks. In 1971, Chucks debuted in team colours, allowing teams to match their kit to their shoes for the first time. Chucks was basketball, and basketball was Chucks.

As it turns out, the performance innovations that made the Chuck a great basketball design also made it a great skateboarding shoe.

Skateboarding debuted in mid-century California as "sidewalk surfing", a pastime for when the waves were flat. The low-top Chuck, which came out in 1957, was already a favourite of these "beach boys" and perfectly adapted to the new street sport, thanks to its underfoot cushioning, grippy rubber and form-fitting canvas upper.

Over 50 years later, the Chuck retains its foundational status in skate and with its top athletes—even as the sport has moved from the street to the world's premier competitions and into its leading museums. In 2023, the Design Museum in London hosted "Skateboard",&nbsp;the exhibition arm of a multimedia project that also included <a rel="noopener noreferrer" href="https://www.phaidon.com/store/design/skateboard-9781838667498/" target="null">a book</a> created in collaboration with curator Jonathan Olivares, Converse and Phaidon, chronicling the countercultural design history of skateboarding.

The Chuck's simple, no-frills style also reflects skate's democratic, live-on-your-own-terms DNA—which has taken it everywhere.

Tyler, the Creator says it well: "I'm from LA, and I grew up with skateboarders. [The Chuck Taylor] is a very staple shoe in that lifestyle". The Chuck bridged skate and music in the '90s and early noughties, but the shoe's musical roots stretch back to artists topping Billboard charts in the '50s and '60s. These global stars wore the silhouette everywhere: on stages from California to England, crossing Penny Lane, traversing the beaches of Hawthorne and strolling the streets of Haight-Ashbury.

Over the decades, the Chuck has collected a roster of musical artists that rivals a legacy record label's list and spans all genres, from punk, alternative and grunge to hip-hop, indie rock and pop. It has also cemented its place in recording studios, on album covers and at global music festivals, even infiltrating classical music halls. In 2018, when the conductor Jonathon Heyward forgot his formal shoes for an orchestra performance, he wore his red Chucks onstage, nearly upstaging the concert. "Being able to find a sense of relatability within classical music is something that I am really passionate about, and Chuck Taylors are incredible barrier breakers", explains Heyward, who is music & artistic director of the Festival Orchestra of Lincoln Center, and music director at the Baltimore Symphony Orchestra. "By simply wearing a pair of Chuck Taylors to my concert, I become more relatable—and people's openness becomes greater when there is that sense of relatability. The walls go down and I can take them on a journey, which is what classical music is and what a live classical music performance is about".

As a cultural bellwether of mid-century America, the Chuck couldn't ignore colour. First introduced for basketball-centric reasons, the rainbow of hues also made a statement by breaking down colour barriers on court and off, celebrating diversity and championing self-expression in all forums.

From primary tones came endless prints and motifs, with the '80s debuting camouflage and animal and glitter treatments along with checkerboard, strike and glow-in-the-dark patterns. New materials, heights and shapes followed, evolving the Chuck from a signifier of specific subcultures to a customisable badge for those independent enough not to follow—and for an ever-evolving roster of collaborators.

It all began in 1934 with Disney, Converse's first brand partnership, which defined Chucks as the first shoes to feature Mickey Mouse. Despite this high-profile launch, it wasn't until the late noughties that collaboration became a central element of the Chuck. The 2008 Converse 1HUND(RED) Artists Collection commissioned 100 global musicians, graphic designers and graffiti artists to use the Chuck as a canvas on which to express their support of the fight against AIDS, empowering the community for a cause and unleashing a dam of creativity. The stream of joint creations has remained steady, including signature contributions from the brand's longest-standing collaborator, Comme des Garçons (CDG) PLAY.

The instant, persistent popularity of the Converse x PLAY Comme des Garçons partnership confirmed what had been apparent for decades: the Chuck effortlessly resides in high-fashion spheres, whose leading visionaries grew up with the shoe, influenced by its anti-conformist ethos and customisable style. As fashion designer Rick Owens put it, "When I think of Converse, I think of the black and white Chuck Taylors and the punk rock generation. These have always been iconic pillars of my aesthetic".As the noughties wore on and digital media democratised access to the fashion world, the Chuck cemented its status in this once-rarefied yet open-minded world. It graced runways in both original and bespoke forms at the same time as it populated the pages of glossies and appeared in street-style snaps from global fashion weeks.

Deeply entwined in the fabric of global culture, the Chuck has likewise witnessed a myriad of historical moments, adorned the feet of diverse history-makers and embedded itself into the greater societal landscape.

As its endless iterations prove, the Chuck could likely claim the title of the most customised sneaker in history. It has been splatter-painted and Sharpied; adorned with badges, pins and spikes; embroidered and cross-stitched; inverted. Like a fingerprint, each expression reflects its creator's unique creativity. As confirmed by Converse All Star Rocco Montagnoli Bruzzone. "Chucks have helped me express myself and my individuality since I was a child, when I used to sketch on them. Now, I wear a clean pair of Chucks to my meetings".

Recognising the powerful relationship a one-of-a-kind Chuck fosters with its wearer, the brand introduced limited-edition offerings&nbsp;as far back as 1988, via mail-order catalogue. Next came hyper-local Chuck collections, such as Lunar New Year and City Packs. Often made in collaboration with local creators, these city-exclusive designs weave the distinct cultural weft of their locale into the Chuck's signature form. In 2015, Converse further evolved its personalisation platform with the introduction of Converse By You, a digital design programme that reached new heights with the record-breaking 2024 Converse By You x Billie Eilish collaboration—all in an effort to bring creators closer to their Chucks.

And that's just the first century.

The shoe's journey from afterthought to global icon defies convention, which begins to explain why the Converse Chuck Taylor All Star has served as a talisman of self-expression for multiple generations, subcultures and genres: It has never tried to fit in.

Converse

Feature

Journey of an icon: the history of the Chuck Taylor All Star

50-Plus Years of History and Heritage

A montage of film clips that show how NIKE, Inc. brings inspiration and innovation to every athlete—and if you have a body, you are an athlete.

WE SERVE KIDS, PROS, DREAMERS, WOMEN, TEAMS, COACHES, MEN, BEGINNERS, GIRLS, REBELS, ATHLETES.* *If you have a body, you are an athlete