When the most decorated 100-meter sprinter ever stepped to the line for a final time, she told herself what she knew: That she was prepared, powerful, and this race was hers — for her. The next handful of seconds were to honor everything that had brought her to this moment.Green, yellow, and black hair whipping behind her — a self-proclaimed “daughter of the soil,” who chose to wear the colors of her nation’s flag for her final finish —&nbsp;gold-hued nails splayed in front of her, <a rel="noopener noreferrer" href="https://about.nike.com/en/newsroom/releases/nike-celebrates-shelly-ann-fraser-pryce" target="_blank">Shelly-Ann Fraser-Pryce</a> exploded off the blocks in the World Athletics Championship final in a capacity-filled Japan National Stadium in Tokyo. She ended her 100-meter career in the same way she began racing 18 years ago in Japan — with fierce speed, strength, and composure. It was a bold tribute to Jamaica, the nation whose unyielding support has carried her through two decades at the top of the sport.In her decades of dominance — from becoming the first Caribbean woman to win Olympic gold in the 100-meters in 2008, to returning as World Champion in 2019 after giving birth to her son, Zyon — Shelly-Ann has embodied the power of duality.&nbsp;The ability to have longevity in track and field’s shortest, most intense discipline; exuding femininity and self-expression in a physically demanding sport; proving motherhood and greatness can coexist.What athletes everywhere, and especially young girls, can take from Shelly-Ann’s lead: The courage to run your own race, on your terms. To trust that setbacks don’t define you, only your response to them. And the assurance that, if you believe in yourself and work with discipline, harmony is possible. Dreams and family, career and legacy.For that, and the now 276 incredible races and finish line moments, thank you, Shelly-Ann.Below, go behind the scenes of the G.O.A.T.’s final meet days in Tokyo.

The shoes. The hair. The finish. At the 2025 World Athletics Championships in Tokyo, Shelly-Ann, a five-time world champion, ended her career her way.

Sofieke van Bilsen is a 29-year-old Dutch photographer with a passion for storytelling through imagery. She is in-house photographer to the German women's national football team, and was team photographer for the German Olympic Team in Paris 2024. She works closely with Nike athletes such as Faith Kipyegon, Eliud Kipchoge and Sifan Hassan.In her photography, she aims to create compelling visual narratives, focusing on the deep connection between emotion and athleticism. She strives to capture the raw moments behind the scenes, the untold stories of the journey,and everything in between, bringing the spirit of sports to life.Sofieke's personality creates instant connections with people, and she is loved by the athletes she works with. Her relaxed and enthusiastic personality complements an incredible skill level and ability to work in high pressure environments for athletes.

Sofieke van Bilsen

Photo Essay

Icon Shelly-Ann Fraser-Pryce Ran Her Final 100 Meter On Her Terms

Over the course of his career, LeBron James has shared his passion for the game globally, partnering with Nike to travel throughout Greater China during his offseason, galvanizing a nation in its love for basketball and hoops culture. Just as LeBron’s career has evolved through different eras, his tours have represented different values over the many times he's visited since 2005. Below are some of his most memorable moments in the country.

2005-2009

LeBron began his debut tour in Beijing in August of 2005. He was invited to watch the awards ceremony of the Nike Battlegrounds tournament, but he’d depart as more than just a spectator. From the moment he stepped down in China, he believed his tour could become a cross-cultural exchange rooted in a shared love of hoops and a mission to inspire the next generation of young players in China. “Basketball is not only a sport, it's also a bridge that connects people," he said.&nbsp;“This is a great learning experience for everyone. I hope I can continue to help grow the game globally and inspire the youth in China to reach their dreams."

LeBron's legacy in China is woven into special China-specific iterations of his signature footwear. In 2007, LeBron James appeared alongside NIKE, Inc.'s then-President &amp; CEO Mark Parker to debut his Nike Zoom LeBron V "China" colorway.

LeBron returned to Beijing in 2009 after his MVP season where he enjoyed a hero's welcome. As part of his trip, he donated equipment and provided scholarships for the Zhenhua School, a school for the children of migrant workers in suburban Beijing.

To celebrate his season, LeBron was presented with an exclusive pair of the Nike Air Max LeBron VII, featuring a Shenyang-inspired design dubbed “Loyalty” created by the local artist Ray Lei, and a Shanghai-inspired design dubbed “Family,” created by the local artist Sic.

2011-2015

LeBron embraced his role as a global ambassador for the game, focusing on the opportunity to inspire China’s young players. In 2011, his tour expanded to eight days over four cities, promoting grassroots basketball through a series of skill clinics and tournaments.

In 2012, with a fresh gold medal to pair with his championship ring, LeBron James made a triumphant arrival in Beijing to kick off a four-day tour as part of the&nbsp;Find Your Greatness campaign. "Greatness is defined by how much you want to put into what you do," said LeBron. "Greatness comes with victory. It also comes with being able to come back from adversity."

In 2013, LeBron returned to China with plenty to celebrate: his second straight NBA championship and MVP awards for both the regular season and the Finals.

In 2014, LeBron James was the first mentor to announce the roster for the Nike RISE, designed to help players raise their competitive game and improve their skill.

In 2015, Nike RISE 2015 evolved with LED Courts and motion-tracking drills to create a pinnacle training experience, teach the fundamentals of basketball and push the boundaries of sports training.

An emotional finale saw four players chosen to represent China at the World Streetball Championships.

2016-2019

After winning another NBA title in 2016, LeBron entered Guangzhou to a massive championship parade, the streets flanked by tens of thousands of fans, many of them in Cavs #23 jerseys. It was a signal for just how widely James’ legacy had expanded throughout Asia.&nbsp;His More Than an Athlete campaign inspired young players to see basketball as one of many tools for affecting social change.

After a warm welcome from thousands of fans, he spent most of his time in Beijing working out with and coaching members of the Chinese Junior National basketball team.

Visiting primary schools throughout Beijing, LeBron shared his personal basketball experiences with young athletes, emphasizing the role that hard work, dedication and self-belief played in his path to success.

In 2018, the first day of his "More Than an Athlete" tour in Shanghai began with a panel discussion with students at the Shanghai Theatre&nbsp;Academy, and ended with a park shootaround. Hundreds of fans gathered outside the court to watch him play, hoping to catch a glimpse of the icon.

This month, LeBron flew to China for his "Forever King" tour, his 15th in the country and marking the 20th anniversary of tours in Asia. There, he joined some of the world’s most passionate hoopers and basketball fans, reiterating his commitment to giving back to the game across the world.

Over the course of his career, LeBron James has shared his passion for the game globally, partnering with Nike to travel throughout Greater China during his offseason, galvanizing a nation in its love for basketball and hoops culture.

Journey of an Icon: 20 Years of LeBron James in China

Hours of powering up steep ascents and navigating gnarly descents. Whipping mountain winds, glaring direct sun and biting evening temps. Getting mentally right with the fact that the next aid station is far, far away. Ultra trail running can sound like a grueling, relentless sport reserved for the wildest, most hardcore athletes among us.According to our <a rel="noopener noreferrer" href="https://about.nike.com/en/newsroom/releases/nike-acg-all-conditions-racing-department" target="_blank">All Conditions Racing Department</a> runners — six of whom just conquered pinnacle UTMB races across the French, Italian and Swiss Alps, on trails spanning 15 to 174 kilometers, with elevation gains of 1,200 to nearly 10,000 meters — the grit, determination, joy and freedom trail running gives you is worth every ounce of work. See for yourself.

<h3>ROSS GOLLAN</h3>Race: ETC; 15km with 1,200m elevation gain Global finish rank: 29th

<h3>MARIE NIVET</h3>Race: Experience Trail Courmayeur (ETC); 15km with 1,200m elevation gain Global women’s finish rank: 7th

CESARE MAESTRIRace: ETC; 15km with 1,200m elevation gain Global finish rank: 2nd

<h3>BAPTISTE COATANTIEC</h3>Race: Ultra-Trail du Mont-Blanc (UTMB); 174km with nearly 10,000m elevation gain Global finish rank: 11th

<h3>ANTHONY COSTALES</h3>Race: Courmayeur – Champex – Chamonix (CCC); 101km with more than 6,050m elevation gain Global finish rank: 15th

<h3>DREW HOLMEN</h3>Race: CCC; 101km with more than 6,050m elevation gain Global finish rank: 3rd

Powering up steep ascents. Navigating gnarly descents. Whipping mountain winds. Ultra trail running is a relentless sport. But the payoff is well worth the grind.

Ultra Trail Running Can Take Everything You’ve Got — and Give You Even More

NExt volume

Born of need and elevated by expertise and diligence, today the Department of Nike Archives (DNA) cares for hundreds of thousands of artifacts 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

Basketball has never seen a decade like the 1980s. With a deep roster of incandescent stars and bitter rivalries in both the pro and college games, the sport’s growth curve had never looked so steep, and may never again.In some aspects, Nike rode the wave of the roundball revolution. In others, the Swoosh was out in front, fueling — and occasionally suffering the effects of — the money and fame that pulsed through the sport.But before signature shoes, before billion-dollar categories, before basketball became central to Nike’s identity, there was a foothold to secure.That foothold began in U.S. college gyms.In March of 1979, the NCAA championship game between Larry Bird’s Indiana State and Magic Johnson’s Michigan State captivated the country. It remains the highest-rated televised college basketball game in history. A year later, ESPN launched with a heavy diet of college basketball programming. By 1985, the NCAA tournament would expand to 64 teams.U.S. college basketball was no longer regional. It was televised, expanding and captivating the country.Nike was already moving.

College 101

Nike began its push into college basketball in the late 1970s with the help of a personality named Sonny.By then, the company’s foray into the NBA was already underway. But aside from the University of Oregon, the college game had largely been ignored. That changed in the summer of 1977, when John Paul “Sonny” Vaccaro met with Rob Strasser, Phil Knight and a handful of others to pitch a sandal-type basketball shoe.The shoe idea was a dud; Vaccaro, however, had an idea that would stick.

Vaccaro's strategy: create connections. Through the Dapper Dan high school tournament he had been running in Pittsburgh since 1965 — essentially the first countrywide All-Star showcase — he built a network inside the coaching ranks. And the college business was ripe for the picking. In the early to mid-1970s, only a handful of elite coaches were paid anything. A few received lecture fees. Converse had sent Georgetown’s John Thompson to Italy in 1977 to run a clinic. But most coaches with shoe deals received little more than discounted product.Nike saw an opportunity. NCAA rules barred companies from paying players, but coaches were fair game. Provide product. Build relationships. Establish loyalty.

With that philosophy in mind, things moved quickly. By November 1978, Nike had 17 schools on board. By 1980, it had 71.What began as a gamble was starting to look like a sure bet. But contracts were only the first step. Growth gave Nike reach, but it still needed credibility.

The Lab

No program encapsulated the 1980s college basketball scene and Nike’s growing presence within it quite like the Georgetown Hoyas under head coach John Thompson, whose program became one of the most formidable forces in the sport.

While serving as Nike’s unofficial flagship, Georgetown made the Final Four in 1982, 1984 and 1985, winning the national championship in 1984 and claiming five Big East regular-season titles during the decade.Thompson first met Phil Knight on a trip to Nike in August 1980. “The esprit de corps manifested by your people is most impressive,” he wrote in a letter to Knight soon after. Following a falling out with a close friend at Converse, Thompson signed with Nike, and the relationship deepened quickly.“What you found out about Phil, there were certain people he didn’t cross,” says Ron Hill, who ran the basketball program in the mid-1980s. “If John Thompson barked, Phil didn’t want to hear it. ‘Just get him what he wants.’ There were a few of those, not many.”Georgetown became a lab of sorts for Nike ideas.Take the Legend, released in 1982. It featured thick, durable leather that took time to break in but was ultimately comfortable. It introduced colored soles and linings, a perforated toe, a flex point at the lacing break, and a hook on the back — small evolutions that felt distinctive at the time.“Legend was the shoe when I came to the company,” says Mike Caster, Nike’s basketball marketing manager in the mid-1980s. “I remember everybody played in that shoe. It was just an awesome basketball shoe.”

Thompson’s Hoyas were fiercely loyal to it. So when Nike executives approached him about switching Georgetown into softer leather Air Force models or the upcoming Dunk, Thompson refused. He preferred the thicker material, and he wanted Georgetown to stand apart. Wearing the same shoe as a dozen other programs was not acceptable.“He said, ‘I’m not wearing anybody else’s shoes, number one, and number two, I want it exactly this way,’” recalls Hill.By then, the Legend had been discontinued, and the name was no longer available. So designer Mike Aveni modified the design slightly, adding a heel counter stamped with “NIKE,” and created what became the Terminator. For Georgetown’s player-only versions, “HOYAS” was stamped on the back instead, avoiding school royalties and reinforcing Thompson’s demand for identity.The collaboration extended beyond footwear. In 1983, Thompson had Patrick Ewing wear a Nike undershirt in a nationally televised game against Virginia featuring an illustration of the Legend on the sleeves. The NCAA objected, banning what it considered “free” on-court advertising.But the message was clear.Nike wasn’t just supplying product. It was embedded inside one of the sport’s most visible programs, testing ideas, responding to a powerful coach, and building trust on a national stage.

Be True to Your School

If Georgetown gave Nike credibility, March gave it scale.At the 1985 Final Four, Nike leaders Rob Strasser, Jack Joyce and members of the New Products team saw college passion up close. Students and fans lined up overnight to get into the games. School colors dominated the arenas. Allegiance was visible, tribal and loud.

They began to see something bigger than product placement. If Nike could create footwear in the actual colors of these programs, fans might wear them as badges of identity.The success of the Air Jordan 1 and Jordan player pant had already suggested that consumers would embrace bold color. Now the idea moved to college.The College Colors Program was born.

Conceived by Strasser, Joyce and a small internal team that included creative director Peter Moore and Mary Bodecker McGoldrick, the program paired footwear, apparel and bags in coordinated university palettes. It began as part of the “Guns of August” sales push in June 1985, promising samples by August and carrying a simple directive: “Be True to Your School.”

Twelve schools anchored the initial release: UNLV, Arizona, Iowa, Purdue, Michigan, St. John’s, NC State, Georgia, Maryland, Syracuse, Georgetown and Kentucky.The centerpiece was a high-top basketball shoe originally sketched by Moore. At first called the College Color High, it was, as Nike veteran Brad Johnson later said, “a mash-up of different shoes” — a common design practice at the time. Its outsole resembled the Air Jordan I and the Big Nike. Its upper echoed familiar silhouettes. It was built on the same last used for the Legend, considered one of Nike’s best-fitting basketball forms.Eventually, the shoe took a name from that lineage.It became the Dunk.

College Colors disrupted a basketball footwear landscape that had largely been defined by white shoes with minimal color. For the first time, school identity could be worn head to toe, on campus, in dorm rooms and in packed arenas during March.At retail, the Dunk’s initial performance was moderate. The marketplace was suddenly crowded with color after the Air Jordan I. But culturally, something had shifted. Nike had aligned itself not just with players and coaches but with fan allegiance itself.The foothold in college basketball was no longer theoretical. It was visible — in blue and orange, in red and white, in navy and gray — on feet across the country.

March on the Main Stage

As the 1980s progressed, that visibility only intensified.Nike schools began advancing deeper into the NCAA tournament with increasing regularity. By 1985, the shift was undeniable: The entire Final Four — Villanova, Georgetown, St. John’s and Memphis State — wore Nike.

The tournament had become the sport’s national convention, and Nike was everywhere.By that point, Phil Knight reportedly asked what it would cost to sign every top-level program in the country — an idea that never materialized but spoke volumes about how far the company had come in less than 10 years.Exposure in March did more than sell shoes. It cemented perception. College basketball was now national theater broadcast into living rooms across the country, and Nike was attached to some of its most high-profile programs.The 1977 strategy — build through coaches, embed through relationships — was no longer speculative. It was unfolding in front of a national audience.

The Coaching Fraternity

The relationships that fueled that rise extended beyond contracts.Each fall, Phil Knight received envelope after envelope from college towns around the country containing handwritten notes on school letterhead thanking Nike for the summer trip and praising the company.

“The Nike Company is simply amazing,” wrote George Blaney of Holy Cross. “Not only are you aggressive, young and dynamic, but the company is actually concerned about people. I like that.”Those letters followed Nike’s annual college coaches trips, gatherings that were nominally about product evaluation but functioned as something deeper. Coaches met with designers. They discussed equipment. They compared notes. They built bonds both with the company and with each other.Clinics expanded the network further. Nike-sponsored events brought elite college coaches together with high school coaches and players, spreading influence and reinforcing the company’s presence at every level of the game.“It’s about relationships, service and product,” Ed Janka later recalled of the early-days philosophy. “None is more important than the other.”Service became a differentiator. Nike representatives were on the road constantly, visiting campuses, talking with trainers, building custom solutions when needed. While competitors shipped stock product, Nike showed up.The approach required sustained time and investment. It proved effective.By the mid-1980s, being a “Nike school” meant more than wearing a logo. It meant belonging to a network, one that connected product innovation, marketing visibility and personal relationships in ways the sport had not previously experienced.

A Proving Ground

Even as color and culture captured attention, performance remained central.Georgetown’s status as an informal laboratory was not cosmetic. Coaches demanded durability. Trainers offered feedback. Designers iterated.Models like the Legend and the Terminator reflected those conversations — incremental shifts in materials, structure and identity. Shoes were refined season by season, informed by the needs of college programs competing at the highest level.

By the close of the decade, Nike colleges had claimed multiple NCAA championships. The company that had started the 1977–78 season with a single school wearing its shoes had embedded itself across more than 100 programs.The experiment had scaled.Basketball’s growth in the 1980s is often told through signature athletes and market-share battles. But before any of that came into focus, Nike’s position inside the sport was built in college gyms.By the time the tournament lights grew brighter and basketball’s commercial stakes escalated, Nike no longer needed to prove it belonged. It already did.

Basketball’s growth in the 1980s is often told through signature athletes and market-share battles. But before any of that came into focus, Nike’s position inside the sport was built on college courts.

History

Full-Court Press: How Nike Found Its Footing in College Basketball

About Nike - Stories from Inside NIKE, Inc.

This is, obviously, a running story.But the story of the <a rel="noopener noreferrer" href="https://about.nike.com/en/newsroom/releases/nike-pegasus-42-official-images" target="_blank">Nike Pegasus</a> is also something more specific — a case study in how restraint, clarity and attention to fundamentals can produce lasting success. Launched in 1982, the Pegasus would go on to become Nike’s most consistent and popular running shoe of all time, a franchise that has endured across eras, innovations and shifting footwear philosophies. “There’s no modest way of saying this,” said Sebastian Tesche, Product Line Manager of the Pegasus 35. “The Peg is the single biggest and best running shoe in the world. It’s bigger than many of our competitors.”It wasn’t designed to be an icon. It was designed to solve a problem.

In the late 1970s, Nike’s earliest experiments with Air were full of promise but hindered by the realities of the technology. The 1978 Tailwind introduced Air to running yet it introduced stability issues that the company would spend the next several years trying to fix. The Columbia and Aurora that followed solved some of those problems but felt stiff at a time when runners wanted something livelier underfoot. Fortunately, Nike knew Air was a long game.&nbsp;

The great thing that we always thought about Air at that time — and it’s still true — is that it doesn’t lose its cushioning properties hardly at all through time,” said Howard Banich, who oversaw running product in 1982. “Jeff Johnson, Nike’s first employee, always wanted us to do an ad that showed a person coming back to the shoe store with just the Air bag from their shoe and saying, ‘I would like another shoe around this please.’ Because the Air bag was still going strong.”Still, the question remained: how do you put Air where it matters without making the shoe too expensive or too complicated?One solution came from an ongoing innovation project led by former Nike CEO Mark Parker. Known internally as the Air Wedge Trainer — the concept that would ultimately become the Pegasus —&nbsp;it borrowed an Internationalist upper and outsole, added a heel Air unit encapsulated in polyurethane and positioned Air right at heel strike. It was essentially a simpler, cheaper expression of Air and it tested well.

“A heel wedge still provided the benefits of Air where it was needed the most —&nbsp;under the heel at heel strike — but it was less expensive because it was really only a third of the size of the full-length Air-Sole that was used in the Tailwind,” Parker said.At the same time, New Balance had just released the 990 with a provocative tagline: “At a suggested retail price of $100, is the 990 too expensive or too inexpensive?” The price point shocked the market and galvanized Nike. If the competition was willing to push upward, Nike saw an opportunity to create a shoe that delivered performance at a more approachable cost.The Air Wedge Trainer, with its strong test results and modest bill of materials, suddenly looked like the perfect platform.

Building a “best practices” shoe

With the Air Wedge Trainer as a foundation, development for the Pegasus took place at Nike’s facility in Exeter, New Hampshire, where the heel Air wedge concept was built into a fully realized running shoe. Bill Peterson designed the outsole. Bruce Kilgore, deep in Air Force 1 development, offered design input. Parker integrated those ideas into a simple, functional upper: gray, with dark navy accents — a look one European sales rep later described as “a rainy day.”Nike also made a strategic shift to hit its target price of around $50: manufacturing moved to Korea, to the Poon Young factory. Very few running shoes were being produced in Korea at the time. Components had to be imported — Air wedges from the U.S., nylon from Germany — and Nike developers scrambled to refine techniques. “The Air unit didn’t fit correctly in the shoe at first,” recalled footwear innovation veteran Steve Roth. During a vacation back in the U.S., he spent two weeks in Saco, Maine resizing Air wedges by hand so they would sit properly in the midsole.Still, the project moved fast. In only about four months, Nike had a completed shoe — one built around Air and a carefully selected set of core features: A new EVA foam called Tomilite offered a resilient ride. A waffle outsole, with lugs oriented for motion, gave runners better ground contact and stability. The upper was simple, lightweight and unpretentious.

“The Pegasus was essentially our ‘best practices’ shoe,” Roth said. “It had Air, yes, but it was mostly about: what are the best features we can put in a product that hit the sweet spot of the market?”It wasn’t the flashiest running shoe in the line, nor was it meant to be. It was designed to work.

A running manual for the masses

Nike’s confidence in the Pegasus showed in the small details. The company had begun releasing “owner’s manuals” with its higher-profile footwear to help runners understand new technologies and the Pegasus received one, too. It walked consumers through Air, Tomilite and the shoe’s geometry. The transparency helped reinforce the Pegasus as a shoe built on clarity, usefulness and trust.

Naming the Pegasus

Today, many assume the Pegasus name came from the idea of a half-horse, half-winged creature, an allusion to the balance of EVA and Air in the midsole. But the real story is far simpler.To name the shoe, employees dropped suggestions into a bowl. Several slips of paper read Pegasus, including one from Mark Parker. Nike had been playing with mythology themes — Odyssey, Valkyrie — and Pegasus fit the family. “Names were a lot easier back then,” Parker said.The name stuck. And with it came the beginnings of what would become Nike’s most beloved running shoe.

The instant hit

Nike introduced the Pegasus at the 1982 New York City Marathon. While Alberto Salazar powered to his third consecutive win in a pair of Mariahs, the men’s Pegasus debuted in limited quantities as part of Nike’s technical running line. It launched to select dealers and quickly posted strong early sales: nearly $200,000 in under a month, with roughly 8,000 units sold. By December, that number had climbed to more than 35,000 pairs.When the Pegasus rolled out more broadly in early 1983, the reaction was immediate. “The initial reaction to the Pegasus was very good,” said Jim Docherty, who began his career as a Nike EKIN that year. “When the Tailwind hit the market, some consumers thought it was too soft because most midsoles were fairly firm at that time and the Tailwind was a big change from the norm. The Pegasus with heel Air bridged the gap between old EVA midsoles and total Air.”

For young runners and store employees alike, the Pegasus quickly became the reliable choice — the shoe you knew you could recommend.In 1983, long before he became a Nike Running veteran and future Pegasus PLM, Tim Slingsby was working in a running store as a high schooler. “The Pegasus was your go-to shoe when someone would come in, you would sell them,” he said. “As a high school kid, you knew it would work, it would perform, and it was a great price. It had everything.”Within six months, Nike had sold nearly 300,000 pairs, generating $6.4 million in men’s sales alone.The formula worked.

The every-runner’s shoe

By 1985, Pegasus sales had reached 2.5 million pairs. Nike had found its lane and owned it. Longtime Nike designer Bob Lucas compared the shoe to an automotive staple: “To use an automotive analogy, auto manufacturers have their Pegasus in their lines: a Honda Civic, the Toyota Corolla. … that kind of product line where it’s a value-based proposition.”Over the next several years, Nike made only modest adjustments to the shoe — incremental material updates, seasonal color changes — while leaving its core intact. That restraint became part of the Pegasus’ identity. “I think everybody always knew it was one of those things where you didn’t want to change it,” said Clare Hamill, a leader at Nike Running in the mid-1980s. “That was the biggest challenge —&nbsp;how to make it better without changing it.”

At the heart of the early Pegasus was a simple principle: don’t complicate it. The midsole, upper and outsole were all guided by what Hamill described plainly. “The core philosophy of the Pegasus was, keep it simple. No junk. Give people what they need and don’t overbuild.”Runners felt that clarity. By the late 1980s, the Pegasus had become a dependable constant in an increasingly crowded running landscape, one defined less by flash than by trust. The 1989 Air Pegasus, built on existing tooling with a soft poly-pag and synthetic suede upper, would later be remembered as a high-water mark. “If you asked loyal Pegasus wearers through the years what their favorite version has been,” said former Nike Running leader Kevin Paulk, “I would be willing to bet a lot of people would say the Peg ’89. It had a nice soft upper and fit like a glove.”

From its earliest years, that has remained the draw of the Pegasus: a running shoe built not to chase trends but to earn loyalty, mile after mile.

The Peg wasn’t designed to be an icon. It was designed to solve a problem. See how that solution became "the single biggest and best running shoe in the world."

Nike Pegasus: The Origin of a Running Workhorse

Not every breakthrough in sports science begins in a lab. For Nike’s iconic waffle sole — one of running’s most game-changing innovations — it began in the kitchen.It was 1971 and <a rel="noopener noreferrer" href="https://about.nike.com/en/stories/bill-bowerman-nike-s-original-innovator" target="_blank">Bill Bowerman</a> was wrestling with a problem he’d been turning over in his mind ever since a hard, slick new urethane track had been installed at the University of Oregon two years prior, which was injuring runners. Bowerman had to face a reality: He had chosen a track surface that wasn’t holding up, and he needed to find a fix. How could his runners get better grip? Spikes dug in too deep; flats didn’t bite enough.One morning, while glancing at his wife, Barbara’s, waffle iron — a Model 251 by Bersted Manufacturing Company, which the Bowermans had received as a wedding gift in 1936 — he was struck by the grid pattern. The raised squares seemed like the exact geometry that could deliver the lightweight traction he’d been chasing.He poured liquid urethane straight into the family waffle iron, only it instantly glued shut permanently, ruining their 35-year-old wedding present. Undeterred, he drove into town, bought several more secondhand waffle irons, and kept experimenting. Those first imprints came out inverted with concave bumps, but they sparked the idea that would lead him to refine molds and materials until a workable prototype finally emerged.

What resulted was the first version of the Nike Moon Shoe — a design that would shape the future of running for decades.“The waffle sole changed everything,” says Nike Running Historian Rick Lower. “Not only did it transform how runners thought about traction and cushioning but it showed people what Nike was about: solving problems in new ways.”

A Catalyst for the Future

In 1971, Nike, then still known as Blue Ribbon Sports, an American importer of Japanese running shoes, hadn’t yet become the global force in sports innovation that it is today. The fledgling company was still finding its footing, and Bowerman — co-founder, coach and relentless tinkerer — was at the center of that push. To him, every surface was a problem waiting for a solution.&nbsp;That included the new Astroturf laid down at Autzen Stadium, where the Oregon Ducks football team struggled for traction. In wet conditions, players often ditched their cleats for basketball shoes with a herringbone outsole that gripped better. Bowerman and teammate Jeff Johnson began exploring traction ideas for football as well as track, a line of thinking that would lead to the Astrograbber — a shoe prototyped in 1972 and <a rel="noopener noreferrer" href="https://about.nike.com/en/newsroom/releases/nike-bode-rec-astrograbber-official-images" target="_blank">reissued decades later</a>.“There had been no real innovation in outsoles for decades,” says Nike Running Historian Rick Lower. “Running shoes were basically just a sheet of rubber to protect your feet from the road, and traction and cushioning were secondary. Bowerman wasn’t willing to accept that.”Inspired by the moment in his kitchen, he began pulling in a network of local resources to help refine the molds and materials — tire shops, machinists, cobblers. Early prototypes disintegrated after only minutes of running. Others left athletes with cut ankles from exposed wire that was embedded in the rubber mixture for traction. Yet each failed attempt nudged the idea closer to the finish line.

By November 1971, the waffle sole had its first taste of competition when members of Oregon’s cross-country team wore early versions to win the NCAA title. Through the winter and spring of 1972, more college&nbsp;and local South Eugene high school&nbsp;athletes quietly tested pairs. By the following summer, Bowerman and Geoff Hollister were hand-cobbling a small batch of prototypes for a bigger stage: the U.S. Olympic Trials in Eugene.They weren’t perfect, especially not for the marathon level. “It was basically just an upper stitched to a thin sheet of waffle,” Lower says. “So minimal it was like running barefoot.” Still, a handful of brave runners laced them up. Some thought the waffle sole footprints looked like astronauts’ footprints on the moon, becoming part of the lore that gave the prototypes their now-iconic nickname: the Moon Shoe.For the fast-growing company, it was a pivotal moment. Even if the shoe wasn’t ready for mass release, it was proof the idea worked and evidence that this small Oregon company could push running footwear in an entirely new direction.

The Bridge to a Running Movement

The Moon Shoe itself never went to market, though a few pairs are believed to have been sold out of Nike’s Eugene retail store, making it possible to have snagged one if you were in the right place at the right time. But the shoe’s DNA spread quickly. By 1973, Nike released the Oregon Waffle. Two years later came the Waffle Trainer, Nike’s first blockbuster success.Designed by Bill Bowerman and Geoff Hollister, as well as famed Bowerman collaborators orthopedic surgeon Stan James and podiatrist Dennis Vixie, the Waffle Trainer became Nike’s most popular running model. It was created at the request of runner Jon Anderson, who wanted a more substantial training shoe, but went well beyond satisfying Anderson’s needs — it became the best-selling training shoe in the country. By 1975, orders had topped 100,000 units, and its blue upper with a yellow Swoosh became one of the defining looks of Nike’s early years. To this day, it remains emblematic of Nike in the 1970s.

The milestone sneaker didn’t just give everyday runners better grip. With a flared sole and a new cushioning sensation unlike anything they’d felt before, it changed expectations of what a running shoe could be.“That shoe was the bridge,” Lower explains. “It took the Moon Shoe’s experiment and turned it into a global product. From there Nike’s reputation as an innovator was cemented.”But it wasn’t the end for the Moon Shoe. After making its revival on Nike collaborator and French designer Jacquemus's runway last January, the iconic silhouette was reimagined for a new generation. Sleek and fashion-forward, the new sneaker, coming soon, bridges performance heritage and style with speed, capturing the same restless drive that defined its earliest incarnation. What was once vaulted as Nike's racing DNA is now primed for the future.

Long Live Experimentation and Innovation

The waffle iron tale might have stayed legend if not for a discovery decades later. When Bowerman’s son Tom renovated the family property in Coburg, Oregon, he unearthed a long-forgotten rubbish pit near the carport. Inside were discarded prototypes, molds and the rusted shell of the waffle iron Barbara Bowerman had tossed after Bill glued it shut.&nbsp;Today, that iron rests in the Department of Nike Archives at Nike World Headquarters in Beaverton, Ore., acting as a reminder of the kitchen tinkering that became the blueprint for Nike’s approach and long-term success: experiment boldly, keep refining and never stop pushing forward.

Created from the experimentation and ingenuity of Nike's co-founder Bill Bowerman, the Nike Moon Shoe's unique design would shape the future of running for decades.

Feature

From Waffle Iron to World Stage: The True Story of the Nike Moon Shoe

January 25, 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 Handshake That Started It All

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 mom 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 track 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 labor lawyer who would later become publisher of the Oregon Journal, introduced him to Oregon track coach Bill Bowerman. The two older men had gone to college together at the University of Oregon. 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 program 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 run and took fourth at the state meet. By fall, he’d earned a spot on Bowerman’s track 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 college or join the military, William Knight wrote to him that fall.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 realized 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 —&nbsp;not 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 fall 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 Track to Business

By the time Knight graduated from Oregon in 1959 with a degree in business, his competitive drive had shifted from the track 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 college. 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 U.S. — 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 inquiry 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.

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

At the base of K2, the world’s second-highest peak, two American climbers sat among their gear, snow-streaked ridgelines rising behind them. Their faces were lean from 68 days on the mountain. Both wore yellow Nike Long Distance Vectors (LDVs) — one of the brand’s top long-distance running shoes at the time — which looked as battered as the climbers themselves. A picture was needed to mark the moment; one of the men raised a thumb toward the camera. The photograph, taken by mountaineering photographer Dianne Roberts in 1978, would go on to become one of Nike’s most unexpected origin stories.

An Unlikely Sponsorship

Months earlier, Nike had quietly supplied the expedition with those lightweight trainers, a last-minute gift meant for the 110-mile approach to basecamp. “A lot of it was off-trail,” recalled Rick Ridgeway, one of the climbers in the photo and a leading American alpinist of the era. “You can imagine they were pretty trashed by the time we got there.”In those years, most climbers relied on stiff leather boots built in Europe. The LDVs were the opposite: soft, breathable and fast. “They were just more flexible and more comfortable,” Ridgeway said. “What was really cool about those LDVs is that you need to hop around on rocks. This was a rough hike so you could boulder hop. They breathed better. They were functionally superior to the more rigid traditional trekking shoe.”

Internally, Nike referred to the model as the “Long Distance Vixie” because Eugene podiatrist Dennis Vixie made the last. Externally, it was known as the Long Distance Vector.At the time, Nike hadn’t yet stepped into the outdoor business — the shoes had simply been a goodwill gesture for the expedition. No one could have predicted that they would plant the seed for an entirely new category.

By the time the team descended, the fabric sneakers had nearly fallen apart. Ridgeway and Roskelley held them together with tape and glue for the long walk back to the roadhead. “Being up that high for that long without oxygen, it was hard,” Ridgeway remembered. “But we made it. And on the way out, we started talking about how the shoe could be modified to make it into a usable trekking shoe.”When they returned home, the climbers mailed their blown-out LDVs to Nike along with a short list of suggested improvements, including a tougher sole and more rugged upper, while still keeping the shoe lightweight and flexible. Those notes would help spark Nike’s first outdoor footwear line and, eventually, the category that became <a rel="noopener noreferrer" href="https://about.nike.com/en/newsroom/releases/nike-reintroduces-acg-all-conditions-gear" target="_blank">All Conditions Gear</a> (ACG).

From Climb to Concept

Nike’s design team took the climbers’ feedback to heart. The field-worn LDVs had proven that lighter footwear could thrive where only heavy boots once ruled. The idea that “light is right” began to ripple through the brand’s ranks.By 1981, that thinking produced three shoes that merged the best of Nike running with durability for rough terrain: the Lava Dome, the Approach and the Magma. Nike’s first shoe to use a GORE-TEX lining; the design shape would later inform early thinking behind the Air Force 1. “It became very apparent that world-class athletes [were] going really lightweight,” recalled product manager Monte Mayko, who helped lead the project from Nike’s Exeter, New Hampshire factory. “It made total sense.”

Inspired by the K2 photograph and the climbers’ firsthand notes, the Nike team reimagined what a hiking shoe could be. The result was a category shift toward performance minimalism. “The whole notion of light is right and less is more and functional minimalism — climbers really get that at their core,” explained Kirk Richardson, a lifelong mountaineer who would later lead ACG. “Nike intuitively got it. Bowerman and Knight were absolutely right.” The new designs, built in Exeter and Saco, Maine, featured lightweight uppers, waffle soles and durable midsoles derived directly from Nike’s running heritage. For climbers and trail runners, they felt revolutionary: fast, flexible and protective enough to take the punishment of rock and scree. “Turning a training shoe into a trekking shoe. Nobody had done that,” Ridgeway later said. “It was kind of revolutionary.”

As those early designs hit the market, Ridgeway continued testing prototypes and corresponding with Nike designers. “They’d send me a prototype of the shoes to try out so I field tested them,” he recalled. One of those early ads — the first print campaign for Nike Outdoor — used Roberts’ K2 photograph of Ridgeway and Roskelley. The caption read: “Not everyone was willing to wait for our hiking boots."

The Big Ascent

By the mid-1980s, Nike’s outdoor experiments had evolved from one-off projects into a legitimate design philosophy. Yet without a unifying category, they remained scattered, a mix of hiking boots, trail runners and small-batch apparel experiments without a single name or purpose.That began to change in 1987 when a small internal team was tasked with formalizing Nike’s outdoor efforts. According to Tom Clarke, then vice president of product marketing, Nike had been talking about being in the outdoor business for some time and had a stable of avid outdoor people around product management.

The team saw an opening in a market dominated by European legacy brands still building heavy, rigid gear for mountaineering specialists. An opportunity to create athletic gear designed for movement in all conditions.Clarke, Richardson and a small team in Beaverton and Exeter began sketching out a strategy. Footwear and apparel would live under a single collection guided by four principles: high performance, durability, versatility and functional excellence. It was the beginning of a significant shift in performance outdoor footwear that would also make its way into apparel.The idea quickly gained traction. Within two years, a full outdoor business plan emerged.

The Name Takes Hold

Nike’s outdoor plan was coming together, but a fitting name was still missing. Around the same time, Nike Running had begun using the phrase “All Conditions Gear” for a small line of year-round performance apparel — gear designed to handle any weather. The overlap in philosophy caught the Outdoor team’s attention. When Clarke’s group discovered the term, they adopted it to define the new collection, a name that embodied Nike’s commitment to performance regardless of terrain or weather, echoing the same spirit that had driven Ridgeway and Roskelley’s K2 ascent a decade earlier.

By 1989, it became official. Under Richardson’s leadership, ACG launched as a fully integrated line of footwear and apparel designed for athletes who ran, hiked, climbed and explored outdoors.Nike made sure its debut felt authentic. The first catalog shoot took place at Castleton Tower in Moab, Utah, a notorious rock spire revered by climbers. “We wanted to position it as a pretty real brand,” said art director Ron Dumas. “We had these guys climb this tower and so we got in a helicopter. It was just about sunset and I was sitting on the rail holding onto the photographer and he’s hanging out of the helicopter. The tower was beautiful and these guys are just little dots on top. It was phenomenal.”

Released in 1989 as part of ACG’s inaugural product launch, the Huascaran jacket featured a nylon microfiber GORE-TEX shell.

Inspired by Mount Huascarán in Peru, its design included underarm gussets, double storm flaps, cargo pockets and a zip-in liner capability, reflecting ACG’s early focus on durable, all-conditions performance.

Additionally, the warm winter jacket was constructed with a Regulator-lined interior and a snap-off hood.

A decade after the 1980 eruption of Mount St. Helens, Nike ACG marked the mountain’s irreversible transformation with a before-and-after patch showing a landscape changed forever. Instead of measuring height like other ACG “landmark” pieces, the jacket captured impact, memory and permanence.

Built as an insulation layer within ACG’s late-’80s systems approach, the Mount St. Helens Jacket used thick Polarfleece, ribbed cuffs and a reversible YKK zip to integrate seamlessly with outer shells. Technical and modular by design, it showed how storytelling and function came together in early ACG systems thinking.

This Kilimanjaro Anorak K2 was worn and autographed by climber John Roskelley, one of the two Americans photographed at K2 basecamp in LDVs whose trek later appeared in an early 1980s poster and in a 1989 ACG ad.

Built with two- and three-layer GORE-TEX and a nylon microfiber shell, the anorak included reinforced yokes, underarm gussets and multiple zip pockets, reflecting the technical design ethos that shaped ACG’s early years.

When the first ACG collection dropped that fall, anchored by the Air Wildwood, Lava High and a series of Gore-Tex and fleece outerwear pieces, Nike had officially staked its flag in the outdoor market.

The photograph of two climbers at the base of K2 had become something larger: the spark that ignited an entirely new dimension for Nike.

The wild moment that sparked Nike’s first outdoor footwear line and, eventually, the category that became All Conditions Gear.

The Birth of ACG: The Summit that Launched a Legacy

Virgil Abloh’s relationship to Nike began long before he first visited the company’s world headquarters in October 2016 to start a new collaboration. As a teenager, living in Rockford, Illinois, he and his friends sketched shoe ideas and mailed them to Nike. “We were enamored with Air Jordans,” said Abloh in 2017. “Michael Jordan was larger than life — he was Superman to me. My entire design background and ethos came from the ‘90s.”Abloh took his early design education — drawn from athletic footwear, hip-hop and rock album covers and graffiti, he says — and merged it with formal training in architecture and engineering. After becoming a successful creative director, DJ, designer and founder of the brand, OFF-WHITE, Abloh blurred the lines of various creative processes, rewriting the rules of fashion and design and injecting humor and DIY elements into his practice.“By the time I made my first trip to Beaverton, I immediately wanted to make something,” Abloh said. “I didn't wait all those years just to have&nbsp;meetings&nbsp;at Nike.” During the first visit, he rebuilt a pair of triple-black Air Force 1 Low shoes using an X-ACTO knife and drew on them with markers, initiating one-offs for his staff to wear at that December’s Design Miami/, where he presented OFF-WHITE furniture.

This exercise became a quick turn of 12 Air Force 1s, all handmade by Matt Kilgore at Nike’s Blue Ribbon Studios. Abloh wanted the tongue’s inner foam exposed, a silver Swoosh with thick, obvious stitching and text nodding to the shoe’s origins in Beaverton, Oregon.Establishing this reconstructed design language, combined with Abloh’s urgency to fulfill a life-long dream, would ultimately lead to The Ten, a collaborative exploration of 10 Nike footwear silhouettes.“What we're talking about here is larger than sneakers, it’s larger than design culture,” says Abloh. “It’s nothing short of state-of-the-art design. These 10 shoes have broken barriers in performance and style. To me, they are on the same level as a sculpture of David or the&nbsp;Mona Lisa. You can debate it all you want, but they mean something. And that's what's important.”The 10 shoes were divided into two themes. The first, “REVEALING,” was designed to look accessible: hand-cut, open-source and reconstructed. It includes the Air Jordan I, Nike Air Max 90, Nike Air Presto, Nike Air VaporMax and Nike Blazer Mid.The second, “GHOSTING,” was designed with translucent uppers to further the idea of revealing and unite the second set of silhouettes through common material. It includes the Converse Chuck Taylor, Nike Zoom Fly SP, Nike Air Force 1 Low, Nike React Hyperdunk 2017 and Nike Air Max 97.

“Revealing”

Abloh’s quick pace was an ideal match for a rapid Nike Direct timeline, resulting in one of the fastest collaborations Nike has ever completed: 10 shoes in about 10 months from ideation to release. The project officially began with the task of re-imagining five Nike footwear icons — the Air Jordan I, Air Max 90, Air Presto, Nike Air VaporMax and Blazer Mid — within a breakneck schedule. “Most of the creative decisions were made in the first three hours, while actual design and iteration took two to three days,” recalled Abloh. “The Jordan I was done in one design session. I work in a very like dream-like state. I see it, and it's done.”Like with the initial Air Force 1 exercise, the X-ACTO knife was central to this design process. Abloh used it to reveal the foam within each shoes’ respective tongues (and move their Nike labels), move the Swoosh placements (and, at times, enlarge them) and add pops of color through orange tabs (in various locations per shoe).The “REVEALING” aspect of this series was also satisfied through tongue-in-cheek text placements, such as “AIR” on the lateral side of the Nike Air VaporMax, Air Jordan I and Air Presto (referring to Nike Air technology) and “SHOELACES” on the shoe strings.

Though the designs look complex, Abloh said he truly wanted this process — opening up the figurative guts of a shoe to reveal the innovation within — to feel approachable. “Yes, we're making a desired product, but by making a trip to your local store, and using tools you have at home,&nbsp;you could also make this shoe,” said Abloh.This approach articulates a Just Do It mentality — one rooted in working hard to realize one’s own potential. “I spend a tremendous amount of time thinking about the kid in the middle of nowhere who has a passion for design, much like I did,” Abloh said. “He or she needs a path like this to&nbsp;understand&nbsp;design.”

“Ghosting”

Abloh’s work on the Nike Air VaporMax, within the “REVEALING” set, presented an exciting challenge, because, at the time, the shoe hadn’t been released yet. Two more unreleased silhouettes, the Nike Zoom Fly SP and Nike React Hyperdunk 2017, were similarly stimulating in their newness and potential. Abloh was inspired by the cutting-edge cushioning innovations of Breaking2’s Nike Zoom Vaporfly Elite&nbsp;<a rel="noopener noreferrer" href="https://store.nike.com/us/en_us/pw/running-shoes/8yzZoi3" target="null">running shoe</a>&nbsp;and basketball’s React Hyperdunk 2017, and decided to introduce an evolution of the reveal called “GHOSTING” using translucent uppers. With these five shoes, including basketball icons that preceded the Hyperdunk (the Converse Chuck Taylor and Nike Air Force 1 Low), and a running icon that preceded the Vaporfly Elite (the Nike Air Max 97), Abloh said he wanted to use a common, semi-revealing material to unite their combined 94-year history.

“My high school years were made up of playing soccer, skateboarding and biking year-round,” said Abloh. “What I've learned from playing sports and also being obsessed with design is that there is an inherent style and focus that exists amongst athletes and designers alike: What propels them to be the best comes from deep within.”The open-source nature of The Ten, through a reconstruction of footwear released by Converse, Inc. since 1923, and Nike, Inc. from 1972 to the present, spoke to the true longevity of shoes that have defined sport and sneaker culture. They’ve stood the test of time, and through The Ten, have become collective catalysts from which to understand not just footwear design, but all design.“In one gesture, I wanted to underscore how the design system and manufacturing of Nike are so perfect,” said Abloh. “By combining these shoes with design that amplifies their ‘handmade’ quality, we’re intensifying the human element and expanding the emotional connection of these 10 icons.”

Abloh's singular design language, combined with his urgency to fulfill a life-long dream, would ultimately lead to The Ten, a collaborative exploration of 10 Nike footwear silhouettes.

Icons

The History of Virgil Abloh's “The Ten”

In 1971, Watergate was just a hotel, NASA was preparing Apollo 15, and a small Oregon company had just sold its first pair of shoes.The shoe — a football boot called “the Nike” — retailed for $16.95. Its defining feature was a checkmark-shaped stripe created by a Portland State University student for $35. Few noticed the shoe, but the mark would long outlast it.At the time, Nike wasn’t yet the global sports brand it would become. Phil Knight and Bill Bowerman were still operating as Blue Ribbon Sports (BRS), a small distributor of Japanese running shoes. But contracts with their supplier were winding down, and Knight knew the company’s future depended on more than someone else’s product. To succeed, BRS needed a shoe of its own — and with it, an identity.That February, Knight contracted a factory in Mexico to produce a black soccer cleat with a white sole. To distinguish it from Onitsuka Tiger models, he needed a brand mark. He turned to Carolyn Davidson, a design student he’d met while teaching accounting at Portland State.

Two years earlier, Davidson had been overheard in a hallway telling a classmate she couldn’t afford an oil painting course. Knight offered her $2 an hour to make charts and graphics for his side business. Over time, she created ads, brochures and catalogs. Now he asked her for something bigger: a stripe for the side of a shoe.

Davidson sketched half a dozen options. In a Tigard, Oregon, office, Knight gathered two employees to review them, including Jeff Johnson, Nike’s first full-time hire. None made a strong impression. “It came down to a matter of which was the least awful,” Johnson recalled.The group settled on Davidson’s curving checkmark. She thought it suggested motion. Knight was unconvinced. “Well, I don’t love it,” he told her, “but it will grow on me.”The stripe — not yet called the Swoosh — was rushed to Mexico so production could begin. Davidson sent Knight an invoice for $35.

Those first shoes carried the new mark into the world, but it looked different on nearly every model. On some, the line stretched wide. On others, it pinched tight. One runner joked that the curvier version resembled a “dead fish.” Factories stitched it however they could, and designers adjusted the angle depending on the shoe’s shape.

Yet the stripe was already making appearances in the right places. At the 1972 Boston Marathon, two of the top American finishers crossed the line wearing Nike shoes marked with Davidson’s design — the first confirmed appearance of a Swoosh in a major race. The company highlighted the feat in its marketing materials the following year.Apparel presented another challenge. On shirts and bags, the asymmetry of the mark seemed awkward. Johnson experimented by fanning multiple Swooshes into a circle, creating what became known as the “Sunburst” or “Pinwheel” logo. Borrowed in spirit from the 1972 Olympic design, it gave Nike something bold to put on warm-ups and team gear.

Geoff Hollister, Nike’s third employee —&nbsp;who would go on to pioneer the company’s early marketing efforts —&nbsp;pressed the Sunburst onto singlets and tracksuits. He also applied the Swoosh alone in unconventional ways. In 1974, Steve Prefontaine appeared at a meet in Tacoma, Washington, wearing a tracksuit with a lone, backwards Swoosh across the chest. That marked the first time the logo stood by itself on apparel.In those first years, the design was far from consistent. Some called it the stripe. Others thought it looked strange, even unbalanced. But on marathon finish lines, in Olympic Trials and on the chest of America’s most famous runner, the mark was already doing its job: it was sticking.What began as a reluctant choice — a student’s sketch rushed off to a factory — had become the emblem of Nike’s earliest wins. The Swoosh wasn’t yet the global icon it would become, but it was already proving it had staying power.

In the decades since that first soccer cleat, the Swoosh has taken on countless forms. It was paired with bold Helvetica in the 1970s, broadcast to millions in Dennis Hopper’s 1993 football ads, stretched across Niketown Portland’s architecture, and splashed across caps at Wimbledon. It has been oversized, miniaturized, multiplied and, at times, overused. It has been guarded by Nike’s “brand police,” celebrated by athletes and parodied by critics.Through all those shifts, one through line has remained: the Swoosh endures. What began as a quick sketch by a college student has become one of the most recognized symbols in the world. More than a stripe, it’s a global shorthand for speed, innovation and possibility.

Before Nike was a worldwide sports brand, it was an upstart company in need of an eye-catching visual identity. Here, the real story of the Swoosh.

The Nike Swoosh Logo: From Humble Beginnings to Global Icon

When he debuted the Kobe 3 in 2007, Kobe Bryant subverted expectations, just as expected. The Lakers played an away game against the Cleveland Cavaliers on December 20, days before the signature players from other brands would reveal their holiday colorways, alight in wintery themes. His Kobe 3: Black. No nonsense.&nbsp;That legacy of stealthy, unsung precursor defines the Kobe 3. It preceded arguably the most influential lowtop in basketball history. It preceded what became Nike Basketball’s “Signature Shoe” in the Hyperdunk, which would debut in the summer of ‘08. And yet, the 3 is immovable in Kobe’s footwear legacy. He wore it for his decisive MVP campaign in the ’07-’08 season. And, talk to any Kobe fan: it’s a cult favorite, raising basketball shoe design to an elevated art form.

<h3>How We Made It</h3>Before the Kobe 3, the Kobe 2 sought to be the most technically advanced footwear in basketball. But its overt technology — modeled after the functionality of Nike Free and barefoot movement — emphasized a kind of science as its aesthetic. Nike Basketball Creative Director Eric Avar, who took back the reigns of the Kobe line with the 3, wanted to fuse performance and artistry into the design of the Kobe 3.“Kobe was probably one of, if not the most progressive players I ever worked with in terms of wanting to push performance technology in design,” says Avar.&nbsp;

But the shoe wasn’t love at first sight. Even Kobe knew the shoe’s design would be polarizing.“When people first saw the shoe, they were like, ‘Oh, I don’t know. I don’t know,” Kobe would remark with a laugh.&nbsp;The Kobe 3 released to the public in 2008 in the Orca colorway. Across the mid top's upper was an all-over pattern of striped TPU caging made to resemble basketball netting. The forefoot and heel Zoom units were bridged by a carbon fiber shank, which helped the shoe maintain its torsional rigidity during sharp movements. The midsole featured Lunarlon Cushioning, a first for the Kobe line. On the outsole tread, the traction pattern was arranged in diamond shapes, inspired by the middle name, Diamante, of Kobe’s daughter Natalia.&nbsp;

<h3>How It Took Off</h3>Kobe Bryant wore the Kobe 3 en route to his MVP award in 2008. In the postseason, he’d lead the Lakers to the NBA Finals, where they fell just short of an NBA title. The season might not have been Bryant’s best statistically, but it was arguably the height of his presence across basketball. He was everywhere in 2008. MVP. First-Team All League. First-Team All League Defense. Co-Captain of Team USA’s Redeem Team. He put together all of the pieces of his game, meanwhile directing his teams as the undisputed Alpha leader.As the releases continued, the shoe took on more expressive looks, thanks to the shoe’s upper design being conducive to an imaginative palette. Christmas Day against the Phoenix Suns featured an unmistakable yellow and purple combination. In the ‘08 All-Star Game, though he only played a few minutes because of a torn ligament in his pinky (Of course he played), he laced up a deep red and gold colorway. In 2013, the Kobe 3 was re-released as part of Nike’s Prelude Pack in the Kobe line. While seven of the shoes were based off of his career milestones, only one shoe was inspired by a setback: the Kobe 3. The black colorway was covered by a custom fresco-style graphic, inspired by the swirling psychological torment that Kobe felt upon losing the 2008 NBA Finals.&nbsp;

<h3>What’s Next</h3>The Kobe 3 is <a rel="noopener noreferrer" href="https://about.nike.com/en/newsroom/releases/kobe-3-protro-halo-official-images" target="_blank">the latest model to receive the Protro treatment</a>. The upper now has a mesh backing against the TPU netting to provide greater support. The midsole features a full-length Zoom Strobel. The traction has been retooled. Even the tongue was revamped to be more comfortable. No feature was ignored for a modern tech upgrade. It’s maybe the most expansive Protro to date.“We were always pushing the limits of Kobe’s shoe to be faster, more precise and to be modern,” says Avar. “Kobe was big on being bold, aggressive, provocative and making an impact. Working together, we were on a never-ending quest for the perfect shoe from him.”

A legacy as stealthy, unsung precursor defines the Kobe III. And yet, it's immovable in Kobe’s footwear legacy.

The History of the Kobe III

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Athletes don’t compete in a vacuum, but having them train in a controlled setting can help Nike researchers design the most innovative apparel to help them compete. Introducing the environmental chambers in the Nike Sport Research Lab (NSRL), which can mimic nearly any environment an athlete might face. <h3>What They Do</h3>Thermoregulation, or the study of how you regulate your temperature when you're moving, happens in your body through a natural, physiological response: sweat. When your sweat evaporates, your body can cool down.&nbsp;Nike's environmental chambers help researchers study thermoregulation up close and personal with athletes. The NSRL has three different chambers for athlete testing, each named after a different Olympic venue (Rio, Sydney and Athens) and each studying the crossover between thermoregulation, apparel design and athlete performance. The chambers allow scientists to test how different variables impact either the heat load on an athlete's body or the regulation of an athlete's body temperature through sweat evaporation.In the chambers, researchers can dial the temperature anywhere from -4 degrees F to 122 degrees F. Radiant heat with special bulbs can match the intensity of the sun's rays (there’s variance within perceptions of “hot”; anyone who does a summertime road run in Los Angeles will tell you it’s a very different setting from running in the streets of Miami). Scientists can also generate wind speeds up to 11 mph.“In the chambers, we can fine-tune our regulation of temperature, humidity, airflow, and radiant heat so we can re-create the conditions in which athletes perform,” says Grant Simmons, PhD, Sr. Principal Researcher, Thermoregulation. “These tools help us understand athlete challenges, their interaction with clothing, and the benefits of product solutions designed to make them better."

The Nike Sport Research Lab’s environmental chambers help Nike researchers study the interaction between athletes, their apparel and their environment.

Ultrarunner Drew Holmen testing the new Nike Radical AirFlow top in the Sydney environmental chamber.

At the end of a session in the Rio chamber, scientists measure the athlete’s weight, the weight of the sweat in their apparel and the weight of the sweat in a pan underneath them to isolate the exact amount of sweat that’s evaporated.

In the Sydney chamber, athletes wear body sensors as they run on a treadmill that cover a range of data: skin temperature, heart rate, core body temperature and more.

After an athlete works out, they drape the sweaty garment they wore over a manikin and a thermal camera displays where the sweat is accumulating in the product.

<h3>What They Help Us Do</h3>In the Rio chamber, scientists study athletes in the heat to identify new opportunities for Nike DriFIT innovation. Here, the NSRL uses custom methods, developed specifically for the LeBron James Innovation Center, where the NSRL is housed, to study an athlete’s sweating efficiency, or the percentage of your sweat that evaporates to cool you during exercise. If you have sweat pouring down your forehead or dripping down your back or soaking your shirt or bra, you’re not sweating efficiently. The more efficiently you sweat, the slower you dehydrate, and the longer you can run, dance, play basketball, or compete in your chosen sport. As an athlete works out on a stationary bike, scientists use several different weight scales and custom engineered equipment to break down their sweating response into separate parts. By isolating the evaporated sweat from the sweat that drips off the body, beads up on your skin, or is absorbed and retained in clothing fabric, scientists can map the outcome of every gram of sweat secreted during exercise. This allows them to study the sweating response like they’d study a household budget; identifying areas of waste and opportunities to be more efficient by reducing excess sweat that dehydrates the athlete, but doesn’t cool them down.Nike scientists also need to pinpoint where athletes tend to sweat so apparel designers can embed sweat-wicking properties in high-need areas. This is the kind of detective work that happens in the Sydney chamber. Recorded by surface-mounted cameras, athletes wear a range of body sensors as they run on a treadmill. The sensors cover a range of data: skin temperature, heart rate, core body temperature and more. The goal of these studies is to understand the distinct needs for individual athletes during exercise, revealing preferences based on different metabolic states and environments. After an athlete works out, they drape the sweaty garment they wore over a manikin and a thermal camera displays where the sweat is accumulating in the product (the sweat is cooling the apparel fabric as it evaporates). Nike scientists ask athletes to drape the apparel over the manikin, versus evaluating it on body, so they can get past the complications in variations in skin temperature, which can influence the thermal imaging. Apparel designers use this info for computational design to “zone” a garment with the right kinds of sweat-wicking materials, tuned for areas of high or low sweat. The Sydney chamber helps scientists see sweat in a new light, literally.When scientists need to control even more variables, they tap the Athens chamber. It houses two of the NSRL’s primary tools to study sweat: a pair of thermal manikins named Hal (male) and Haley (female). These adult-sized manikins have a copper shell with a precisely-regulated temperature; the shell measures heat loss across 30 different zones over their body surface. That measurement helps Nike scientists assess the thermal properties of specific apparel worn by the manikins as the figures swing their arms and legs. For example, data collected across the chest helps scientists zero in on the ideal material properties for a sports bra. Scientists can test apparel in a matter of days using the thermal manikins, reducing a timeline that would take weeks with human volunteers.

NSRL Climate Chambers

The science of regulating your temperature is serious business in the Nike Sport Research Lab.

Sport Science

Next Level

The NSRL Environmental Chambers

There are few firsts left for marathon GOAT Eliud Kipchoge. The New York City Marathon is the near equivalent of his last frontier.&nbsp;This November 2, 2025, will&nbsp;be his debut in the race, the only world major he has yet to run.&nbsp;Typically&nbsp;<a rel="noopener noreferrer" href="https://about.nike.com/en/magazine/eliud-kipchoge-wear-testing-nike-running-zoom-fly-6" target="_blank">a first tester</a>&nbsp;for Nike’s latest footwear innovations, Eliud will take on NYC with a tool borrowed from a different toolbox: a&nbsp;custom&nbsp;<a rel="noopener noreferrer" href="https://about.nike.com/en/magazine/what-is-nike-radical-airflow" target="_blank">Nike Radical AirFlow</a> top, a material innovation introduced in this summer’s trail running season through All Conditions Gear (ACG). The origin&nbsp;for the one-of-one top is&nbsp;simple. In July of 2025, a team of Nike product experts were preparing to fly to Eliud’s training camp in Kenya to show him new product. What if he tried a Radical AirFlow top,&nbsp;they thought? The same kind worn by&nbsp;<a rel="noopener noreferrer" href="https://about.nike.com/en/newsroom/releases/nike-acg-all-conditions-racing-department" target="_blank">All Conditions Racing Department</a> athlete Caleb Olson&nbsp;for the&nbsp;2025 Western States 100-Mile Endurance Run, where he ran the second-fastest course time in the race’s history.What&nbsp;happened next is&nbsp;familiar to anyone who’s followed Eliud’s relationship to product. He ran in the top. He liked it enough to scribe pages and pages of his signature handwritten notes, drawings and annotations on how it performed. And he believed in the top so much,&nbsp;he&nbsp;said&nbsp;he’d wear it for one of the&nbsp;few remaining firsts of his career.“The journey of how this project went from prototype to race-day ready for Eliud was very much in the spirit of just doing it,” says Scott LeClair, VP/GM, Nike ACG. “Serve the athlete and don’t let anything get in the way.”

Listen to Eliud

Eliud’s reputation as a devout wear tester&nbsp;is storied across Nike Running. Designers call him a product line manager on the ground. His humble sketchpads turn into maps that lead to goldmines. From unboxings to post-workout debriefs, Eliud is always ready to share his direct experience with&nbsp;the innovation at hand.

After a week of running in the top, Eliud was shocked at the perceptible cooling effect over his body, and he liked how the knit material moved freely across his skin without chafing. He offered one suggestion that might increase the cooling effect: an additional side vent at the garment’s ribs, betting on the chance for even more ventilation.

Eliud Kipchoge on His Radical AirFlow Top

Make Adjustments

Designers back at Nike’s <a rel="noopener noreferrer" href="https://about.nike.com/en/newsroom/releases/nike-philip-h-knight-campus-announcement" target="_blank">PHK headquarters</a> got to work creating an updated prototype. 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>, experts from Nike’s NXT Apparel teams used Eliud’s digitized body scans from the Nike Sport Research Lab to hit&nbsp;exact measurements for his 5’7” build. Along with creating the side vents, designers made&nbsp;more adjustments to get the top race-ready. They reverted the hemline to a normal height&nbsp;(the trail version of Radical AirFlow is cropped to allow room for a fuel belt). Based on Eliud’s feedback, they also adjusted the drape to make the top fit a little tighter to&nbsp;his&nbsp;body, to prevent it from&nbsp;swinging excessively from side to side.&nbsp;“Every alteration we made for Eliud was based on his feedback,” says Emily DeLess, Apparel Innovation, Product Management. “Thanks to our research history, we already have a language of development with him,&nbsp;so we can give him exactly what he needs.”

Let the Running Talk

When&nbsp;Eliud received his top in August, he&nbsp;put it to the test on roads&nbsp;outside his training camp in Western Kenya.&nbsp;His comments after these long runs kept returning to the notion that the sweat across his body was, somehow, being turned into a cooling agent, not a distraction.&nbsp;“The magic of this top,” says Eliud, “is how it evaporates the sweat.”

Putting Radical AirFlow to the Test

Soon, Eliud had the validation he needed. In a text thread with Tony Bignell, Chief Innovation Officer, Eliud remarked that his 40-kilometer run that day was the right time to close the feedback loop on his prototype.&nbsp;I think the top is ready to go, he texted, adding a flex emoji. Then:&nbsp;ACG has a great future.

When Eliud Kipchoge ran the 2025 New York City Marathon, he did it in a one-of-one Radical AirFlow top, bridging a material innovation from trail running to road racing. He was just as methodical with his feedback as you’d expect.

Making It

A Radical Solution for the World’s Greatest Marathoner

Melitta Baumeister has built a reputation for turning the everyday into something extraordinary. Her work blurs the line between fashion and sculpture — exaggerated silhouettes, hand-shaped materials and unexpected textures that seem to hold movement inside them.Since launching her namesake label in 2013, the New York–based fashion innovator has become one of the most distinct voices in contemporary design, earning recognition from the CFDA/Vogue Fashion Fund.Now, she’s bringing that sculptural approach to Nike. On October 29, Baumeister will debut an experiential performance and installation in New York City, the first chapter in a long-term collaboration with the brand. Taking Nike’s Vomero Premium as her starting point, she reimagines the shoe’s color — and so much more, creating an expressive study of movement and perception. The result is part artwork, part experiment and fully human in its perspective.For Melitta, the concept “Run Like No One” became the collaboration’s emotional core. It’s a message about rediscovering joy in motion; about moving for yourself, not for applause or perfection. Each sneaker in the series carries that same philosophy: subtle variations, layered color and evidence of the maker’s touch.As she explains, the project isn’t about creating heroes, it’s about exploring honesty in motion, an idea that mirrors her own practice of experimentation and process. Here, Melitta shares how her Nike collaboration came together and why imperfection, realism and play may be the most powerful design tools of all.

How did you approach reinterpreting the Nike Vomero?When Nike asked me to come up with a new colorway for the Vomero, my first reaction was: We need to find a different way to work with it other than simply exchanging one color for the other. The performance aspect of the Vomero was an additional inspiration. We needed movement and something unexpected — a shift away from the intimidating perfection of a pristine sneaker toward one that engages people on multiple levels in surprising ways.My team and I have taken the idea of “built for movement” seriously, and instead of being stuck behind screens, we worked on it as we would on our sculptural dresses, using our hands and working directly with real materials. The outcome is a hand-painted sneaker, each one slightly different from the other. That’s what the audience will notice first when encountering the Vomero: the layers of graphics and storytelling that reveal themselves on closer inspection. I love this aspect of engagement from different distances and angles. It gives depth and more space for the audience to explore and experience it.&nbsp;

What first drew you to fashion as a form of expression?&nbsp;For as far back as I can remember, I had a feeling that clothing can affect our lives and the way we feel. I was always drawn to people that used clothing not only to express their personality but also to help build that identity. This is where my love for fashion took root.I knew from a young age that I wanted to make clothes for a living, probably around 14. I grew up in a small city where there wasn’t much fashion around. My mom introduced me to a fashion designer who was visiting, telling me that she was “changing lives by dressing people.” That stuck with me. Growing older, I understood what she meant. Changing someone’s identity or being part of someone’s identity was fascinating to me.&nbsp;How did your own experience with running shape the concept for this performance?Movement has always been essential in my daily and creative life, but finding the time and motivation while running a growing business has become a bigger challenge than running faster or farther. Knowing that this is the reality for most of my customers made it a good starting point for this collaboration in general and the performance in particular. What I love about running is the way it changes your perception of time and space. It’s like exploring familiar surroundings in a new way. Places start connecting to thoughts, which then become memories, and the rhythm is in your body, not the stopwatch. Running is a powerful tool for creativity.From the very beginning, the performance gives a good insight into how we approach projects. Instead of arriving with a rigid idea that needs to be squeezed into any space, we visit different locations and look for their specific character, which we love to integrate into our concept. It’s like running on a treadmill versus through the city. I prefer the spontaneity and unpredictability to the preplanned and controlled. For our performance in New York, this meant utilizing all the “hidden” parts of the location that would usually be used only as storage or back of house. In fact, that’s how the performance starts, and how we enter the building. What follows is a succession of moments that meander between humorous surrealism and surprising realism.

Melitta Baumeister has built a reputation for turning the everyday into something extraordinary — blurring the line between fashion and sculpture with pieces that seem to hold movement inside them. Now, she’s bringing that sculptural approach to Nike.

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