Today we wear things that deaden the skin, tomorrow we won’t, we will use that as an information source.
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Think about the introduction of an olfactory experience, what does a racing garment smell like on race day? Does it have a unique signature, does it have a scent that creates confidence or creates poise or gives us a burst of energy? We dwell in the ecology of human skin, and skin is filled with nerve endings. Humans have five senses, and we are today not designing for all five. What does creating more sensorial product look like? Bringing that haptic sensation back into the design process is going to be amazing, that is fit and finish and drape on apparel and for footwear it is underfoot feel and comfort. One of the dilemmas of the pandemic as a designer is we have been touch-blind, we can’t get our hands on things, can’t work with our fit models, our protos, and samples. We love to make things that are the result of happy accidents, and we love to get our hands on things. What that means to me as a designer is we will find group genius. In the last two-and-a-half years, we have been isolated to our home studios and I’ve been incredibly proud of the teammates and what they have achieved in these isolated moments, but getting everybody back into one floor, I think it will be a springboard to even more collaboration. Right now, it is an empty vessel, a catalyst for our creative collaboration.
How does a new building change the focus for the future of Nike design?
In this interview, conducted within a meeting room inside the new Serena Williams Building at Nike HQ in Oregon last week, Hoke discusses how the brand’s new buildings will contribute to the company’s future, the next steps in footwear design, and chatting with Drake about furniture. A fresh aesthetic for the silhouettes is meant to highlight the intent. In line with future-thinking, both in form and function, Nike today revealed the June 2022 ISPA Link and 2023 ISPA Link Axis, footwear designs focused on “circular design.” Created for complete disassembly, the interlocking pieces in the shoes require no glue or cement, making it simple to recycle or reuse the already recycled Flyknit, TPU and EVA. Using chemistry, geometry and sustainable materials may turn today’s static products into something that excites all the body’s senses. By creating at the pixel and voxel level they can explore form. Hoke says designers will use 3D technologies for more design control over product. Looking forward to the future of Nike design, Hoke believes the collaboration between designers-as they work with athletes, scientists, and artists-is critical to creating something fresh. Nike Shares SNKRS Data, Plans, Concerns in Internal Meeting
With Nike celebrating 50 years as a company, Hoke says opening both the new LeBron James Innovation Center and the Serena Williams Building allows them to highlight the science of design, out of the LeBron space, and the creativity, art, and beauty of the product they make within the Serena space. “With 1,000 creative minds, diverse in backgrounds, diversity and focus, all housed on the fourth floor and the way the building has been designed,” he says, “it is a catalyst of creativity.”
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Speaking from within the new office and lab space ahead of employees making a full return to the site following the pandemic, Hoke says the new home for Nike design will serve product creation. It’s the tallest building on campus, its views stretching across the whole of Nike’s world headquarters and into the mountains beyond. Now, Hoke’s excited that with the opening of the new 1-million-square-foot Serena Williams Building at its world headquarters in Oregon, Nike can have all roughly 1,000 brand designers on the same floor yet again. Thirty years ago, that was 100 designers meeting in the Michael Jordan Building. Nike’s chief design officer John Hoke remembers roughly 30 years back, when all the company’s designers could gather in one space at its Beaverton campus.
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