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gerthatwito-blog · 4 years ago

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The Bears lost ground in the rankings

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sneakerscartel · 3 years ago

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i-bobjia · 3 years ago

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davedickens · 3 years ago

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its-zhangjiashuai-us · 4 years ago

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insuranceallabout · 6 years ago

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sandyyy0708-blog · 8 years ago

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

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

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

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

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

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

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

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

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

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

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

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

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daziran1 · 5 years ago

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i-bobjia · 3 years ago

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dippedanddripped · 6 years ago

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

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

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

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

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

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

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

Dior / Archive / Sophie Carre

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

/ Milan Vukmirovic

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

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

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

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

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

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

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

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

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

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

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

#kim jones #streetwear blog #mensdesign #menswear #dior #christian dior #luxury brands #kaws #undercover

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lamcongliemme · 7 years ago

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jahkartoday-blog · 7 years ago

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Growing up as a kid in West LA, Adidas was never a thing. No one played basketball in Adidas, or wore Adidas on the first day of school. To be frank, I wouldn’t be surprised if a handful of my peers from Crescent Heights Elementary could even pronounce Adidas correctly. The only brand that mattered on the playground was Nike. If you didn’t have a swoosh on your tennis shoes or t-shirt you simply weren’t cool. My personal favorites were the all-white Air Max 90s and all-white Air Force 1 mids. I liked the all-white colorways most because I could color and write on my shoes and customize them to my liking. As time went on during the early 2000s, I learned more about Nike products, specifically Jordan Brand sneakers and it started with the Jordan 1. Then, in about 2006/2007 SB Dunks became popular and while I was skateboarding at the time these became my newfound obsession. My cousin Sage and I would spend hours on end in his room learning about the various Dunk models and memorizing everything about them. From the color of their boxes (silver, pink, etc), to discussing skinny tongues vs fat tongues, we were Nike experts. Fast forward to now as sneaker culture has changed in ways that were unforeseen. The current hype around Adidas in the United States has everything to do with KanYe West signing with the sportswear brand sometime during 2015. Before KanYe released his first model with Adidas––the 350 Boost, which is a blatant rip-off of Nike’s 2012/2013 best-seller the Roshe Run, he was spotted wearing various Adidas models like the Stan Smith, SL Loop, and the dreadful Adidas Ultraboost. All of those sneakers instantly became hyped “grail” items for KanYe stans and hypebeasts ranging from ages 13-29. This resulted in them being the most sought after shoes at brick and mortars and on the resale market for quite some time. I call this sequence the “Yeezy Effect”––where KanYe wears or does something and it instantly becomes oxygen to his followers. For example, KanYe started making his tour merch less “merchy” and more streetwear. He started doing pop-up shops around the world where his “Pablo” merch was available only at select locations. Odd Future did this first, but it didn’t seem to have the same domino effect on the industry as Ye’s did. Nowadays, brands like Zara and Forever 21 recreate his overpriced Yeezy Supply products that are manufactured by Adidas. People tend to troll and call this “Post Apocalypse Fashion” at a much lower price point. Prior to signing with Adidas for a rumored $10,000,000.00, West was a member of the Nike Boyz during 2009-2014 where he created the Air Yeezy 1 and 2. During his stay at Nike through 2009-2014, he was often seen wearing Jordan 1s, 3s, 5s, 6s, and 8s as they are products of the Nike house, but this changed when the Yeezy line came into fruition. These years were also the years when Nike and Jordan products were basically untouchable. Resellers, “Plugs”, and camp-outs only mentioned Nike and Jordan sneakers even when the quality was subpar like the 2013 Jordan Bred 1s. Although, plenty of people were buying and rocking Jordans before KanYe came along, he definitely helped the trend of Jumpman stay popular. The later period of 2010, was the definitely the beginning of a weird period for sneaker culture as a whole where people were basically buying more luxury sneakers and slippers instead of Nike sneakers. Seeming to not know what to do, it was a pretty quiet period for Nike where they weren’t really releasing any good products. It was practically a year full of one-off trainers that no one ever seemed to be interested in like the Nike Air Huarache ‘92, Nike Air Max CB94, strange Nike SB dunks, a pair of black Air More Uptempo which is now the official Supreme fanboy shoe of 2017, and a plethora of Basketball sneakers. Adidas was practically unheard of in the states and was surely not a topic of conversation in regards to “Must Cop Releases” as their year consisted of re-releasing the Super Star 2, ZX 500, Somoa, and Nizza Hi the predecessor to the Adidas Matchcourt which has recently been highly coveted thanks to signature models from Nakel Smith and Mark Gonzales of the Adidas Skate Team. In 2015, West was spotted wearing various Adidas sneakers such as the Stan Smith, ZX Flux, Ultraboost, and ZX 710 and the Yeezy Fanboy Club immediately begin hitting up their local shoe retailers to grab a pair for themselves along with a pair to resell. This is when the energy of the sneaker world took a sharp turn, for the worst. Nike began to lose its “star power” affiliated with the brand other than NBA players, Adidas began to steal the popularity spotlight amongst the hypebeasts, Youtubers, and “influencers” from Nike by releasing a slew of new models in a McDonald’s inspired quick and fast manner which ended up playing a part in their early demise. In 1985, Nike released the Air Jordan 1 in a Chicago Bulls themed colorway. Overtime, this sneaker has been remixed in plenty ways which is acceptable from time to time and simply unwanted at others. However, the shoe is 32 years old which makes both the failed attempts to revamp the shoe and the re-releases of OG colorways understandable. The NMD from Adidas has basically taken the same route as the Air Jordan 1 but at a bullet train pace. Which is not acceptable, but understandable as Adidas is obviously trying to capitalize on the hype around the brand at the moment. Recently, Adidas has seemed to step away from releasing the NMD R1 in a bunch of different colorways but trying to rework the sneakers in puffy “updated” versions like the NMD R2 and Pharrell’s second take on the NMD sneaker the “NMD Tennis Hu”, serving as an underwhelming modern twist on the Stan Smith. Both brands have tried to retro runners from the past like the Air Max TN Plus and the Iniki Runner which have both sat at retailers for the past month and will soon end up on the sales rack. So far this month, Nike’s Jordan Brand has also retroed the Air Jordan Red Metallic 1s and Air Jordan Pure Money 4s which aren’t receiving nearly as much as attention as they would have a decade ago. Adidas has recently released the Samba and NMD City Sock which are also stuck on the shelves and aren’t exactly exciting to Adidas’ new found American market since the sneakers are not flashy or a collaborative project with a designer or musician. My personal interest in sneakers has grown frail as I have outgrown the attitude of “more of the best, and less is more” and find myself looking to purchase higher quality sneakers in lower quantities. Now with emerging footwear brands coming to the forefront of the sneaker market such as No.One Systems, VEJA, Aprix, and Victory Sportswear, I have high hopes that my appreciation and love for trainers will be restored and I will become a sneaker hoarder again.

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sswitv-blog · 7 years ago

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New Post has been published on http://sswitv.com/50-coolest-nba-sneakers-of-all-time/

50 Coolest NBA Sneakers of All-Time

When Michael Jordan entered the NBA, he already had a shoe deal in place. He wore Converse in college, at University of North Carolina, but was a big fan of Adidas. However, Adidas was not in a place to offer Michael Jordan the same deal Nike was able to give him ($500,000/year for his first 5 years in the league). So he ended up signing with Nike and not long after, created the iconic Air Jordan brand.

During the early 80’s, Nike changed the way sneakers were used in the NBA and was even banned from being worn in the league because of their shoe colors not matching the team uniforms. But that did not stop the Nike revolution and they paid the fine, made a commercial, and continued selling the Air Jordans at a rate that was never seen before. Nike was worth around $1 billion dollars in 1985 and $100 of it came from the Air Jordan franchise. In 2016, the Jordan brand reported a revenue of $2.8 billion.

Thanks to Nike and Michael Jordan, sneakers in the NBA have become their own fashion genre. Basketball sneakers have become so popular that people wear them without ever stepping foot on a basketball court, ever.

Some players can even end up signing a massive shoe endorsement deal without ever earning as much as an All-Star game appearance. “Big Country” Bryant Reeves (who actually had a deal with the same company, Warner Bros., that gave us Bugs Bunny and Wil E. Coyote), Bobby Hurley, John Wallace, Matthew Dellavedova, and Jimmer Fredette all had shoe endorsement deals and we all know about their NBA careers.

LaVar Ball continues to anger all of the wrong people around the world of basketball, with his ridiculous brand and antics. However he has given us an idea to create a list of the Coolest Basketball Sneakers of All-Time. Enjoy.

50) Hakeem The Dream

Year: 1995

Brand: Spalding

Colors: Black/White/Red

Made Famous By: Hakeem Olajuwon

49) Shox BB4

Year: 2000

Brand: Nike

Colors: Black/Silver/Lapis

Made Famous By: Vince Carter

48) Big Fundamental

Year: 2010

Brand: adidas

Colors: Black/Running White/Metallic Silver

Made Famous By: Tim Duncan

47) Melo M10

Year: 2014

Brand: Jordan

Colors: Dark Powder Blue/Team Orange

Made Famous By: Carmelo Anthony

46) adiZero Rose 2

Year: 2010

Brand: adidas

Colors: Black/Red/White

Made Famous By: Derrick Rose

45) Answer IV

Year: 2000

Brand: Reebok

Colors: Black/White

Made Famous By: Allen Iverson

44) Jabbar Hi

Year: 1971

Brand: adidas

Colors: Blue/White

Made Famous By: Kareem Abdul-Jabbar

43) Curry 2.5

Year: 2016

Brand: Under Armour

Colors: Team Royal, Midnight Navy

Made Famous By: Stephen Curry

42) Air Zoom Huarache 2K4

Year: 2004

Brand: Nike

Colors: Navy Blue/White

Made Famous By: Kobe Bryant

41) Jordan 12 Retro “The Master”

Year: 2016

Brand: Jordan

Colors: Black/White/Metallic Gold

Made Famous By: Michael Jordan

40) Aero Jam

Year: 1992

Brand: Converse

Colors: Black/White/Multi-Colored

Made Famous By: Larry Johnson

39) Crazy 8 “University Red”

Year: 2013

Brand: adidas

Colors: Red/White/Black

Made Famous By: Damian Lillard

38) Jordan 11 Retro “Space Jam”

Year: 2016

Brand: Jordan

Colors: Black/Concord White

Made Famous By: Michael Jordan

37) Shaq Attaq

Year: 1993

Brand: Reebok

Colors: White/Azure Steel/Black

Made Famous By: Shaquille O’Neal

36) Air More Uptempo

Year: 1996

Brand: Nike

Colors: Black/White

Made Famous By: Scottie Pippen

35) Answer I

Year: 1997

Brand: Reebok

Colors: Black/White/Metallic Gold/Red

Made Famous By: Allen Iverson

34) KB8

Year: 1997

Brand: adidas

Colors: Black/White

Made Famous By: Kobe Bryant

33) Air Penny I

Year: 1995

Brand: Nike

Colors: Black/Royal Blue/White

Made Famous By: Penny Hardaway

32) Air Jordan XIII

Year: 1997

Brand: Nike

Colors: Black/Varsity Red

Made Famous By: Michael Jordan

31) Zoom Flight V

Year: 1997

Brand: Nike

Colors: Black/White/Royal Blue

Made Famous By: Jason Kidd

30) T-Mac 2

Year: 2002

Brand: adidas

Colors: White/Royal Blue

Made Famous By: Tracy McGrady

29) Puma Clyde’s

Year: 1973

Brand: Puma

Colors: Royal Blue/White

Made Famous By: Walt Frazier

28) Air Jordan IV

Year: 1989

Brand: Nike

Colors: Fire Red/White/Black

Made Famous By: Michael Jordan

27) Air Garnett III

Year: 1999

Brand: Nike

Colors: White/Black/Blue

Made Famous By: Kevin Garnett

26) Air Max2 CB34

Year: 1994

Brand: Nike

Colors: Black/White/Purple

Made Famous By: Charles Barkley

25) Kobe V

Year: 2010

Brand: Nike

Colors: Metallic Silver/Black Ice

Made Famous By: Kobe Bryant

24) Flight ’98 “The Glove”

Year: 1998

Brand: Nike

Colors: Black/Red/White

Made Famous By: Gary Payton

23) Air Max LeBron VII

Year: 2009

Brand: Nike

Colors: Team Red/Black/Metallic Silver

Made Famous By: LeBron James

22) Shaqnosis

Year: 1992

Brand: Reebok

Colors: White/Black

Made Famous By: Shaquille O’Neal

21) D Rose 4.5

Year: 2014

Brand: adidas

Colors: Clear Grey/Light Scarlet/Dark Onyx

Made Famous By: Derrick Rose

20) Air Jordan XII

Year: 1996

Brand: Nike

Colors: White/Black

Made Famous By: Michael Jordan

19) Air Max Uptempo

Year: 1995

Brand: Nike

Colors: White/Black

Made Famous By: Scottie Pippen

18) Kamikaze II

Year: 1995

Brand: Reebok

Colors: White/Black/Racing Green

Made Famous By: Shawn Kemp

17) Air Zoom Generation

Year: 2003

Brand: Nike

Colors: Black/White/Varsity Crimson

Made Famous By: LeBron James

16) Kobe IV

Year: 2009

Brand: Nike

Colors: Black/Concord Blue/Gold

Made Famous By: Kobe Bryant

15) Flightposite II KG

Year: 2000

Brand: Nike

Colors: Black

Made Famous By: Kevin Garnett

14) Zoom KD 4 “Weatherman”

Year: 2011

Brand: Nike

Colors: Lush Green/Volt Black/Team Orange

Made Famous By: Kevin Durant

13) Air Jordan I

Year: 1985

Brand: Nike

Colors: Black/Varsity Red

Made Famous By: Michael Jordan

12) Pump

Year: 1989

Brand: Reebok

Colors: White/Blue/Orange

Made Famous By: Dominique Wilkins

11) Air Jordan VI

Year: 1991

Brand: Nike

Colors: White/Fire Red

Made Famous By: Michael Jordan

10) Kyrie 3

Year: 2017

Brand: Nike

Colors: White/Chrome

Made Famous By: Kyrie Irving

9) Air Foamposite I

Year: 1997

Brand: Nike

Colors: Dark Neon Royal/White/Black

Made Famous By: Penny Hardaway

8) Kobe VIII

Year: 2013

Brand: Nike

Colors: Orange/Galaxy/White

Made Famous By: Kobe Bryant

7) Air Jordan V

Year: 1990

Brand: Nike

Colors: White/Fire Red

Made Famous By: Michael Jordan

6) Question

Year: 1996

Brand: Reebok

Colors: White/Red Pearl

Made Famous By: Allen Iverson

5) Grant Hill’s

Year: 1995

Brand: FILA

Colors: White/Royal Blue/Red

Made Famous By: Grant Hill

4) LeBron VIII

Year: 2010

Brand: Nike

Colors: Black/White/Red

Made Famous By: LeBron James

3) Air Jordan XI

Year: 1995

Brand: Nike

Colors: White/Black/Dark Concord

Made Famous By: Michael Jordan

2) Weapon “Magic”

Year: 1986

Brand: Converse

Colors: Purple/Gold/White

Made Famous By: Magic Johnson

1) Air Jordan III

Year: 1988

Brand: Nike

Colors: White/Cement Grey/Fire Red

Made Famous By: Michael Jordan

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suzhe3-blog · 8 years ago

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