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Sole cry: the layers of sneaker culture

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Sole cry: the layers of sneaker culture

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Content Copyright 2021 Daric L. Cottingham

Sole Cry:
The Layers of Sneaker Culture

by
Daric L. Cottingham
A Thesis Presented to the
FACULTY OF THE USC ANNENBERG SCHOOL FOR COMMUNICATION AND
JOURNALISM
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTER OF ARTS
(SPECIALIZED JOURNALISM)
May 2021

ii
ACKNOWLEDGEMENTS

This thesis would not be possible with the support from the committee. Thank you to my
thesis chair, Sandy Tolan, who encouraged me in both my writing and reporting throughout the
program. Thank you to Miki Turner, a great mentor who helped me navigate and understand the
intricate layers of journalism. Thank you to Trey Alston for being an amazing colleague and
journalist that offered sound feedback and guidance throughout this thesis project.
Thank you to my friends who lent an ear when I needed some reader perspective. Thank
you, Jamia Pugh, for the long nights writing drafts and peer editing. Thank you, Mia Hairston,
for listening to my unique ideas to approach storytelling.
Thank you to my family for being a call away when graduate school seemed to be too
much to bear. Thank you to my parents for being there when I became homesick throughout the
program. Thank you to my siblings for still taking care of their little brother even when I’m
thousands of miles away.
Thank you to the “Home Team” for listening to me vent when I hit a road bump in my
day while reporting and juggling class. Thank you to the “1876 crew” for reminding me to take a
break and eat. I appreciate all our group facetime calls. Thank you to Tre’vell Anderson for
being a mentor and amazing editor that has helped me become a better writer.
Thank you to NABJLA for being a great resource for Black journalists like myself.
Thank you to the amazing Annenberg Media Fellows who lent an ear when I wanted to
map out this big idea for sneaker coverage. Thank you, Traci Lee, for your guidance in learning
how to produce a podcast. Thank you, Kevinisha Walker, for being a confidant and someone
who constantly pushed me to tackle the big reporting.
Thank you to everyone who helped me throughout this process, I truly appreciate it.

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TABLE OF CONTENTS

ACKNOWLEDGEMENTS .................................................................................................... ii
ABSTRACT .......................................................................................................................... iv
Part One: How sneaker culture saved my life ......................................................................... 1
Part Two: How Hip-Hop's Most Rare Sneaker Collabs Belong To De La Soul, Madlib &
MF DOOM ............................................................................................................................. 6
Part Three: Son of Sneakerhead Stuntin’ like my Daddy Podcast episode Transcript ......... 14
Part Four: Style and Flair: Sneaker designer Ron Wright on his two most culturally relevant
sneakers ................................................................................................................................ 23
Part Five: Black Women and Sneaker spaces ....................................................................... 27
Bibliography ......................................................................................................................... 37

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ABSTRACT

The following is a series of reported stories published in varied mediums covering the
layers of sneaker culture. The project’s goal was to cover different aspects of sneaker culture
through essay, in-depth reporting, podcast interviews, feature writing and news analysis. The
first part of this sneaker beat was an essay on “How sneaker culture saved my life.” The essay
chronicled how growing up in sneaker culture allowed me to discover my queer identity in the
confines of a Black Southern Baptist household. It would later become a coping mechanism in
life after being sexually assaulted and contracting HIV.
The second part of this sneaker beat is an in-depth reported piece on “How Hip-Hop’s
Most Rare Sneaker Collabs Belong To De La Soul, Madlib & MF DOOM.” The piece analyzes
the resale value of these sneakers on the market. With interview from one of the members of De
La Soul, two sneaker resellers and a non-binary rapper whose stage name was influenced by two
out of three of these sneakers.
The third is a podcast interview with a veteran sneakerhead who’s been collecting
sneakers since he was 14 and has acquired over 500 pairs of sneakers in the past 25 years. The
interview was published on multiple podcasting platforms through RSS feed. I executive
produced the podcast, handling the booking, interviewing, engineering and editing.
The fourth element is a magazine style feature on a Black sneaker designer, Ron Wright.
The article tells the story of Wright’s life inspiring his career path and how he uses his career to
spark cultural change not only in sneaker culture but also in society.

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The fifth element of this series is a news analysis on the inclusion of women, specifically
Black women in sneaker culture historically and today. The goal is to see how far the industry
has come beyond the “shrink it & pink it” approach to women’s sneakers.
The works included here aim to prompt readers and listeners alike to fully understand
that sneaker culture is layered and complex beyond the mainstream portrayal of hypebeasts and
hipsters. It’s multifaceted and diverse with experiences that spark cultural shifts in society.

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Part One: How sneaker culture saved my life
A young man returns to the hobby he shared with his father as a way of survival

A version of the following essay was originally published in 2021.

The year is 1990. In Dallas, TX, a basketball hits the pavement as another neighborhood
kid tells 14-year-old Willie Harris to “check-up.” Willie catches the ball and begins to dribble,
his run-of-the-mill Fila sneakers gliding across the blacktop. He drives toward the hoop then
stops, launching a three-point fade away. Time slows as everyone stares at the ball with
anticipation. Swish! It tips off the rim and into the net. Willie, in cutoff warm-ups and a Larry
Bird Boston Celtics jersey drenched in sweat, is momentarily frozen in awe after making the
shot. Then he leans down, dusts off his Filas and leads the other kids in celebration.
I grew up hearing this story from my dad about being the only Black kid in the hood with
flair and swag. He often called it a pivotal moment in his origin story as a sneakerhead and lover
of streetwear. Little did he know, his stories sparked my own love of sneaker culture. And
though I didn’t know it then, he was also introducing me to something that would save me years
later.
Growing up, every Saturday morning sneaker release was a mission of immense
proportions: Helping my dad prepare to camp out the night before, working shifts waiting in line,
or getting raffle tickets so his chances of getting the latest coveted Saturday morning sneaker
release could increase. We didn’t have a lot of money, but sneakers were a form of escapism for
us — being one of the ways we could love ourselves without going too far beyond our means. As
a family, we were so immersed in shoes that at cookouts my brother, cousins and I would fly
over Eastbay catalog pages and try to predict which new pair that my dad might get. As I grew to
cherish what a new pair of shoes could do for my self-esteem, I worked out a deal with my dad

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that if I could put up half the money, he would cover the rest. I sold candy and drew portraits of
kids at school to make up my contribution and he kept his part of the deal every time. I
appreciated each pair because sneakers we bonded through our mutual love for them.
I soon began to feel like I was a part of something bigger — that there was a whole world
of possibilities beyond Dallas. Scouring sneaker history blogs and style guides on Tumblr, I
found a vibrant community of folks who similarly loved their footwear, though their geographic
location meant they used different terminology. No matter if they were called tennis shoes,
trainers, kicks or sneakers, everyone had a flair all their own, which let me know at an early age
that I could have my own flair, too.
My love for streetwear and sneaker culture grounded me during my formative years
because it was the only time, I felt truly like myself. As a child, I never fully fit in with the
neighborhood boys. Though I played football with them and roughhoused at the park, I felt like I
was on autopilot, like I was doing what was expected of me. In my gut, I was a "tomgirl," my
personal spin on the term tomboy that perfectly encapsulated my aversion to stereotypically
masculine activities. But through streetwear and sneaker culture, I could blend both masculinity
and femininity into a comforting, warm hug of acceptance.
I now have better words to more clearly describe what I was feeling at the time. But
being raised in a Southern Baptist Black household and being anything other than what was
perceived as “normal” was not acceptable. Being queer was out of the question. Yet sharing an
interest with my father helped me carve out space for my true self in plain sight without having
to have tough conversations. For example: I was able to wear women’s sneakers in vibrant
colorways to which I’d match various sweaters and cardigans from the Junior Miss section of
department stores. I also got ideas from celebs like Teyana Taylor who broke gender barriers

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with their style. I accessorized my school uniforms with unique eyeglasses, scarves and spiked
belts. Fashion became a safety net for me until I was ready to come out to my parents when I was
17. And it allowed me to still feel connected to a culture that, at the time, was not accepting of
queer identities.
I’d again find a safe haven in sneaker culture years later. In the Fall of 2015, I was date
raped. At the beginning of 2016, I found out that I had contracted HIV from the sexual assault.
At the time, I was scared. I was in my sophomore year of college and was so depressed that I
skipped classes for over a month. I laid in my bed and avoided looking at myself in the mirror as
the stereotypes and stigmas associated with HIV-positive people echoed in my ear. I lost my
sense of agency over my body after being sexually assaulted. It haunted me. I lost my flair, my
swagger and love of fashion. I felt alone and just wanted to hide and blend into the background.
Months passed before I could share with my parents what happened to me—it was only
after my viral load got so high and I got pneumonia that I called them. My mom was anxious, of
course, but my dad grounded us and reassured me we would get through this together. He’d text
and call me to check-in, discussing the latest sneaker releases on Kicks On Fire, his coveted
Dallas Cowboys and Mavericks and the top NBA tunnel entrance outfits. This brought a sense of
normalcy into my life after starting treatment. Through these conversations, slowly but surely,
my passion for fashion and sneakers returned, as did my sense of self-worth.
I was reminded during this time of how, when I was younger, I’d kept fashion journals
and wrote about sneakers, and how that activity helped me better navigate the confines of my
upbringing. Thinking about the joy those fashion journals brought me gave me the idea in the
Fall of 2016 to start writing blog posts about sneakers and a column in the school newspaper. In
doing so, I found a whole new community of online sneakerheads, small streetwear brands and

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stylists that I could use as sources. They reconnected me to a culture that had saved me once
before and, amid a drastically different life full of constant medical care and mounting bills,
saved me once more.
As a means of earning extra cash, I became a student photographer, covering probates,
sporting events, parties—you name it. Along with this new gig, I made a deal with myself:
Similar to the one I’d made with dad so many years ago, I decided to save my money to start
buying shoes again, a new one every other month. I know this might sound superficial, but
sneakers really meant that much to me, and with each purchase I got closer to the self I was
before being violated. I didn’t care about the release date or if they were popular. What mattered
was how I felt when I saw them on my feet, how I felt more and more like me. With every pair
of high-top vans or Air Jordan Retro 1 mids or even my basic running shoes, I began to heal. My
sneakers gave me back agency over my body after a grown man used it like a throw-away rag. I
stopped feeling like my world was crashing down; I finally felt like I was more than my HIV
status, and that I had the right to care about things that weren’t life or death.
While my self-worth and love of fashion returned, my old wardrobe felt like a stranger. I
started over, building a style based on cozy, oversized clothing. Choosing to hide my body and
deciding who had access to it visually or physically was my choice and would never be anyone
else's again. But I held onto one particular piece my dad gave me—a Polo Ralph Lauren
multicolored striped crewneck that I always pair with my cement Air Jordan Retro 4s. When I
wear it, I feel like myself: Safe, in control and ready to face the world.
What used to be a hobby with my dad is now a system that helps me keep going. These
days, I may not be able to participate in every Saturday morning release—I am in grad school,
after all, and we’re in the middle of a pandemic—but every pair I get my hands on helps me take

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another step toward healing. Indulging in sneaker culture has become a way to manage the stress
and anxiety of living with a life-altering disease. Instead of dreading the next needle a nurse
pokes in my arm, I treat each doctor visit like a fashion show, basing every outfit off the
sneakers.
In a weird way, I feel like I’m letting myself and my doctors know that I care, that I’m
choosing to live and fight for a fulfilling life because I still deserve it.
*This story is published with support from the Ken Popert Media Fellowship program.
A version of this essay was originally published in Xtra Magazine, a Canadian LGBTQ+ online
magazine, on February 1, 2021. It has been republished here with permission from the editor.

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Part Two: How Hip-Hop's Most Rare Sneaker Collabs Belong To
De La Soul, Madlib & MF DOOM
A version of the following essay was originally published in 2021.

It's well documented that ‘90s skate culture and hip-hop have a relationship of mutual
respect. It's no surprise that some of the rarest hip-hop sneaker collaborations come from
mainstream outliers who embody this bond, such as rap group De La Soul, Madlib & MF
DOOM. These days, finding these sneakers is half the battle; the other part is the high ticket
price to own an obscure piece of sneaker history. A pair of Madlib-inspired Nike Dunk Pro SB
Hi "Quasimoto"
1
can be found in the same price bracket as the coveted Yeezy Red Octobers. The
latest pair of "Quasimotos'' on the market can run you over $20K. A pair of MF DOOMs
2
can
run up to $10K, while a pair of De La Souls
3
don a price tag up to $3K depending on the
condition. But the consumer hype is no surprise.
MCs have long been the face of sneakers in urban communities, from donning pairs on
their feet to name-dropping a coveted pair over a beat. But through the years, this relationship
has gone beyond rocking a pair of kicks, and subtle co-signs to now being creative forces behind
sneaker collaborations. Fast forward, and hip-hop acts like Travis Scott have become the
modern-day link for mainstream hip-hop, skateboarding, and sneaker culture, leading Nike Dunk
SB's modern wave.

1
"Nike Nike Dunk Pro SB Hi." Farfetch. https://www.farfetch.com/shopping/men/nike-nike-dunk-pro-sb-hi-quasimoto-
sneakers-item-16200928.aspx.
2
"Buy and Sell Authentic Sneakers." GOAT. https://www.goat.com/products/dunk-high-sb-premium-mf-doom-8ff1f53d-d389-
445d-839d-1d0c05833bc8.

3
"Buy and Sell Authentic Sneakers." GOAT. https://www.goat.com/sneakers/sb-dunk-low-de-la-soul-789841-
332/buy?boxCondition=good_condition&size=4.

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But that individuality is what makes these collaborations so unique and the authenticity in
how they came to be.
On Sept. 5, 2003, fate and casual conversation birthed a De La Soul Nike SB
collaboration. The hip-hop group was booked for Street Scene, a festival in San Diego.
Simultaneously, the Action Sports Retailers Show (ASR) was in town. The rap trio was asked by
the clothing company LRG to make an appearance before their concert that night. According to
member Pos, an unplanned meeting with Nike at ASR led to the 2005 De La Soul Nike Dunk Hi
and Lo project.
4

"We happened to see one of the booths, and it was Nike SB. One of the gentlemen that
was there working for SB at the time was [Team Manager], Robbie Jeffers. And so it just kind of
started from there. They were fans of ours [and] they came to the show. Robbie had said, ‘Hey
man, would you guys be interested in doing a Dunk?’ And we was like, ‘Great, of course,’ said
Pos.
Weeks later, they began designing one of today's most coveted hip-hop sneakers. That
free flow of creation was a part of the entire design process De La Soul had with Nike's then
Product Line Manager Chris Reed.
As an avid sneakerhead with notable pairs such as MF DOOM Nike SB Dunks,
Tribe Dunks, and Roc-A-Fella Air Force 1s Pos understands how design elements and the
cultural significance can drive fans’ interest in purchasing a shoe. To be a part of that
wider culture was special for him.

4
Mercer, Kelvin “Posdnuos”. 2021. Phone Interview. February 17, 2021.

8
“Quite honestly, it was just a lot of thought put onto it. We never from the
beginning wanted to just slap our name on a Dunk or just an existing color,” said Pos.
They came up with colorways that became the 2005 Lower Dunk. However, with most
art forms, mistakes lead to iconic work.
"Originally, we just wanted to be able to Velcro the "3 Feet High and Rising" album,
which was our first album, on the tongue. But for some reason they thought we wanted them on
the front of the shoe in Velcro and in hologram. So, they did that. It wound up being a really,
really cool mistake in which we left on both shoes," said Pos.
Ultimately the shoe's design still resonated with fans like 27-year-old DijahSB,
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a non-
binary rapper from Toronto, Canada. Their love of the titular sneaker was a means of being able
to separate themselves from the Jordan fans during their high school years, gravitating toward
exclusive sneakers and pieces that nobody knew about.
"What drew me to [the De La Soul] collaborations was the fact that they are unique
pieces of culture, seeing it's a cross between my favorite genre of music and my favorite type of
sneakers," said DijahSB.
The 2005 De La Soul Nike SB Dunk became so respected that in 2015 for the 10-year
anniversary Nike released a remix swapping the respective colorways on the low and high
versions.
“It was really cool. We always saw that there was always a love for the original De La
Dunk we had done. So, when a friend of mine, Dawn Baxter, who works at Nike, when she had

5
SB, Dijah. 2021. Zoom Interview. February 1, 2021.

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come to us like, ‘Hey, would you want to remix it?’ We were like, ‘Yo, that's really cool.’ It was
just great to see that it was still very dear in people's hearts,” said Pos.
Today the De La Soul Dunk is one of the rarest finds and when asked why that is Pos
says:
“Well, I would think that there weren't a ton produced. I think that does add to people
wanting them. The color scheme was always really cool. It was fun when it first came out and
they were like younger people, even at that time who weren't really aware of De La that way... I
guess for them. So I remember at first they were calling it the Teenage Mutant Ninja Dunk,
which was really funny. But I mean yeah, I just think the color scheme was great. The level of
where we have our album cover around the sneaker itself and hologram, I think it just became
something that was really cool. I think a lot that translated after the product is finished, that
people find that Dunk very interesting and it still holds to this day.”
Communal ties to the culture are just one factor that sneaker resellers like Jaysse Lopez
6
of Urban Necessities uses to price shoes. Sneakers have also become just as collectible as art or
antiques.
"It's being treated as art, wearable art. And if you're smart enough with your decisions,
you can wear the art and still not lose money on it," said Lopez.
Collectible art is the best way to look at these sneaker collaborations because there’s a
story and history that drive their perceived value through the years.
In July 2007, Nike SB’s second hip-hop collaboration the MF DOOM Nike SD Dunk
High Pro SB was released. A collaboration with the infamous masked MC, MF DOOM. Another

6
Lopez, Jaysse. 2021. Zoom Interview. February 5, 2021.

10
rare hip-hop collaboration that birthed from a casual conversation between MF DOOM and then
Nike employee Rob Sissi as reported in Complex.
7
According to the Nike SB Vault,
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the MF
DOOM collaboration indirectly calls back to the De La Soul Dunk, as MF Doom’s former outfit
KMD, in which he performed under the name Zev Love X, was inspired by the sights and sounds
of the Native Tongues movement. After dawning the mask, the themes became darker and that
ominous presentation carries over to the MF Doom Dunk High Pro SB, set in a midnight fog
leather with faux ostrich skin toe wrap, and Doom-themed illustrations on the insole and under
the translucent sole.
The sneaker originally priced at $150 retail resonated with a niche market of skaters, hip-
hop lovers, and MF DOOM fans. Over the years the resale value of the shoe doubled here and
there but didn’t fly off the shelf like a popular Jordan or Yeezy.
Before the announcement of rapper MF DOOM's death, his 2007 Nike Dunk SB High sat
for months in Lopez's store. "It's not that there was anything wrong with the shoe, just it wasn't
sought after," said Lopez. About three years ago, he sold a pair of MF DOOM Nike Dunk SB's
for around $300, two times the original retail price of $150. On Dec. 31, 2020, it was announced
that MF DOOM had died on Oct. 31. After fans heard the news, there was a revived interest in
the 2007 sneaker. Lopez sold two pairs of MF DOOM Nike Dunk SB Highs for $1,470 and
$900. A third pair sold on Jan. 18 for $800.

7
Dunne, Brendan. "MF DOOM and the SB Dunk: How Nike Captured the Supervillain." Complex. February 01, 2021.
https://www.complex.com/sneakers/mf-doom-nike-sb-dunk-high-history.

8
"MF Doom." Nike Skateboarding. https://www.nikesb.com/the-vault/black-box/mf-doom.

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"Now that he passed away, my MF DOOM's are probably the most sought out. I've had
them for so long. They're not really in the best condition, but they still look fresh," said rapper
DijahSB.
Nostalgia is what drove up consumer interest in the late MF DOOM's Nike SB
collaboration, according to hip-hop and sneaker journalist Shawn Grant.
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"You want to be able to connect to anything that is resemblant of DOOM and his legacy.
Specifically, I think what's more important when it comes to those Dunks is we have no idea if
Nike [will] ever do that again. I think it's vital for the people who love DOOM," said hip-hop and
sneaker journalist Shawn Grant.
Kevin Wietsma, a 22-year-old New Yorker, grew up skateboarding and got into sneakers
around sixth or seventh grade, specifically the Nike SB Dunk. This was his entryway into
broader sneaker culture and reselling through Facebook groups.
"I started getting into buying and selling some of the sneakers I liked because my parents
didn't want to fund my habits. So I got into buying some of the shoes, selling the shoes--between
Jordans, Nike SB's," said Wiestma.
10

During this time, he came across some rare sneakers from De La to MF DOOM Dunks,
most notably a gently-used Madlib signed sample pair of Nike Dunk Pro SB Hi "Quasimoto." He
wasn't a big fan of these artists but occasionally listened to the MC's music and understood the
cultural capital the shoes held including the storytelling that each Dunk possessed."I thought that
[the] story behind his alter ego was great and some of that Stones Throw stuff. But I wasn't really
the biggest fan, but obviously appreciated their music and respect what they did," said Wiestma.

9
Grant, Shawn. 2021. Zoom Interview. February 5, 2021.
10
Wietsma, Kevin. 2021. Phone Interview. March 2, 2021.

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Wiestma got the "Quasimoto" for just around "a 1000 bucks." They were an eight and a
half, which was a little small for him. But he saw them as a collector's item even though, at the
time, these samples were less coveted than they are today.
"I knew that this pair itself had a lot of history, a lot of stuff behind it," said Wiestma.
Lopez and Wiestma share a similar reseller philosophy to shed some of their collection to
fund their next pair. About five years ago, Wiestma sold his "Quasimoto" Dunks for "1,500 to
2,500 bucks." A vast difference to the now $20K sticker price for a pair on the market. A price
Wiestma understands but wouldn't spend.
"Personally, I don't necessarily think it's worth it, but I could definitely see why some
collectors are willing to spend that much on a pair of shoes. Specifically, some of those that love
Madlib," said Wiestma.
He shared his theory as to what's driving interest in Nike SB Dunks these days:
"There was a point, sneakers were cheaper. But as we went on, some of the celebrities
started to get back into them. I'm sure you know about Travis Scott, the Jenners, and even Kyrie
[Irving]; some of these big celebs have been seen wearing them. And I think with some of the
social media rise, even some of the TikToks I feel like everyone thinks it's cool to be a
sneakerhead now. It gives these sample pairs a big target market that people are trying to get in
and rise to the top of some of the Nike SB collecting.," said Wiestma.
Wiestma is correct in this observation as Nike SB had a very niche consumer market of
skateboard and sneaker lovers in the early 2000s. But since the influence of prominent figures,
sneakerhead culture, and Nike SB Dunks have become some of the most sought after finds in the
mainstream consumer market.

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When it comes to the “Quasimoto” high ticket price Lopez credits the number of pairs
available that drive the price and it is why it runs for more than the popular Yeezy Red October.
“It's because the Yeezy Red October, they probably made 50 to 100,000 of them and your
Quasi is maybe a hundred pairs and also a 20-year-old shoe. The likeliness of you finding one
that's brand new, mint condition, no distress to the shoe, no lint on it, all its accessories, if any,
and in your size, it's very unlikely,” said Lopez.
There's no denying the influence hip-hop has on sneaker culture, whether it's trendsetting
or directly driving up sales through a genuine partnership fans respect. Each of these factors has
made Nike SB collaborations with De La Soul, Madlib, MF DOOM timeless pieces of broader
sneaker culture. It breathes a cycle of life that’s become greater than the music or sneaker
industry allowing their mutual respect to be immortal and cross-generational.
A version of this article was originally published in Okayplayer, an online Brooklyn, NY-based
culture magazine. It has been republished here with permission from the editor.

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Part Three: Son of Sneakerhead Stuntin’ like my Daddy Podcast
episode Transcript
Daric Cottingham (00:07):
What's up everybody. It's Daric a.k.a OD the MC, and this is Son of a Sneakerhead.
Daric Cottingham (00:18):
Son of a Sneakerhead is a podcast focusing on sneakers, street wear and pop culture. From a Son
of a Sneakerhead. That's me, OD the MC. Each episode has a goal of highlighting black culture
and its influence on the world, by providing a platform for the authentic voices of our culture,
through interviews, discussions and of course, sneaker reviews. Take a seat and tune in so we
can lace you up.
Daric Cottingham (00:47):
On our first episode, I share what it was like growing up with a sneaker head for a dad, and what
values he taught me.
Daric Cottingham (01:10):
My dad isn't my birth father but he raised me like his own since I was three. I always say I got
pretty lucky because most parents and kids’ relationships can be well, rocky to say the least. It
was our common interests of TV, film, music, sports, fashion, and of course, sneakers that
bonded us, and ultimately made me a Son of a Sneakerhead. Without further ado, I'd like to
welcome my pops onto the show for an intimate discussion and interview.
Willie Harris (01:38):
Hey baby boy.
Daric Cottingham (01:41):
Hey pops.

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Willie Harris (01:43):
This is Willie, here in Dallas. Looking forward to this. How are you doing?
Daric Cottingham (01:49):
I am good dad. We're going to dive right into the interview. So dad, how did you get into the
sneaker game? Do you remember your first pair?
Willie Harris (01:58):
I got into it first just by with fashion in general. Trying to look cool or thinking you're cool,
thinking you're fly. And of course sneakers is a big part of fashion. Sneakers, shoes, anything in
general. And it started off with Filas. Just your basic random male Filas. Tennis players had the
biggest sneakers endorsement at the time. So we started off with the Filas, and so on as I got...
Because they were hard to get. I think I had to get them from a bazaar or some local spot because
I don't even think the actual Foot Lockers and things like that even had them. So soon as I
begged around and around, I was able to get them, and started Converse. Then Nike came along.
So we basically started with Filas, and that was my first pair of sneakers that pretty much started
everything.
Daric Cottingham (03:06):
Wow. A pair of Filas. Oh my gosh. What were your favorite sneakers and street wear brands
growing up?
Willie Harris (03:14):
Obviously Fila, because I used to go to play basketball in some big low cutoff warmups. And the
only black kid in the hood with a Larry Bird Jersey. So I had a green Boston Celtic Larry Bird,
with some cutoff Filas. Now probably at the time had some Converse, some Pro Wings Converse
from Payless, which was like the auto official Converse, but they was Pro Wings. So we had the

16
Filas, the Pro Wings going, and then I think it was '88, '89 I saw an All Star game, the NBA All
Star game. I think Michael Jordan was in a dunk contest and that pretty much changed it all. And
my first pair of Jordan was probably, was the Jordan 4, which is my favorite Jordan Silhouette,
was the Jordan 4.
Willie Harris (04:15):
Especially the Bred 4, the Black Maria ones. That may be the one that started it out for me, the
Jordan 4s. And my brands were Nike of course, the Jordan brand, as I got older, started getting
into the regular Nike stuff. But those are probably my three biggest brands, growing up. Fila,
Nike, the Jordan brand. And as I've gotten older, put Ralph Lauren in there cause that's my work
attire clothes, its the Ralph Lauren.
Daric Cottingham (04:57):
Ralph Lauren is your go to... How did you find out about the latest sneaker releases? Have
methods changed since things became more of an online process?
Willie Harris (05:09):
Yeah. The first thing online that I remember was Nike Talk. Nike Talk was a form, where people
got together shared their ideas, shared their pictures, gave insight on what releases was coming
out. And then as time has progressed, now you have it on your phone. You have apps, pretty
much all the big sneaker companies got their own apps now. The Foot Lockers, Eastbay,
Champs, you name it. And then some overseas shoe apps that I've use now too like SAS, END
Clothing, Idol London are pretty good. But most of my sneaker releases either come from forms
or apps. And that's pretty much how you get your information nowadays. And it started with
Nike Talk. Nike Talk was a big influence in the sneaker community. I don't go to it too much
now but Nike Talk was the go to thing back in the day.

17
Daric Cottingham (06:12):
What makes a sneaker release a must have for you?
Willie Harris (06:16):
Probably the history. You may have had it as a kid, and Nike or whomever has been re-released
that shoe. Because they do a lot of re-releasing after so many years. So part of it is the history of
it. Remembering it as a kid. You might not still have that shoe in dead stock fashion but you can
have the opportunity to get it again. Some of the time it's just hype itself. It can be a limited
release, only one of so many. It's always good to say you have it in your collection, but most of
the time it's about the history. Sometimes the material. I'm a big fan of the [New bucksway
00:06:57]. Of course, anything patent leather. I'm trying to get. So it could be a multitude of
things. Mostly it's your own personal style, the history, how limited it is. I hate to fall into the
Hypebeast mode but it happens. If everybody else talking about it why can't I just have it in my
collection too? So stuff like that.
Daric Cottingham (07:23):
Do you remember a time where you waited in line for a pair of sneakers? Can you tell us about
that experience?
Willie Harris (07:29):
Oh, that was a norm for me growing up. Sneakers would come out on a Saturday. You might not
know it, some of the times, way back sneakers will come out on Wednesday. Yeah, sneakers
would come out on Wednesday, kids would skip school, and I guess the sneaker companies and
all that started hearing about that and I think that's one of the main reason why shoes started
releasing on Saturday mornings. After kids, they've known kids were skipping school to, they'll
try to get sneakers on a Wednesday.

18
Daric Cottingham (07:59):
Kids or you?
Willie Harris (08:01):
Both, both. Cause I do remember sneakers coming out on a Wednesday, early on when we
hoppin the sneakers. But yeah, that was a norm. On Saturdays, the mall usually probably open up
at 11 o'clock and sometimes it's the shoe stores will open up a little bit earlier, but you had to line
up two, one two o'clock in the morning, take your place in line, with your lawn chair or whatnot.
Willie Harris (08:35):
But some of these other cities like Chicago, New York, those guys would be out there three and
four days with their tents and whatnot. [Tanging 00:08:44] up people just to hold their spot so. It
was fun times back then, just lining up for sneakers. I also remember just going into a store two
or three days after release, and the sneakers are still there, but that was the good old days.
Hanging out, talking to people, we have a Florida shoe drop, standing in line, getting your
sneakers. Just hope that nobody didn't bother you afterwards. Cause we had that too where
people were robbing people for their sneakers. Just sitting out waiting on them. That was the
dangerous part of it. But overall it was a good experience, camping out, it was called camping
out for sneakers. Yeah.
Daric Cottingham (09:30):
Approximately how many sneakers do you have?
Willie Harris (09:34):
I thought about this. I thought you was going to ask this. To be honest with you I've never
counted, but I'm quite certain I'm over 500. Quite certain I'm over 500 pair.
Daric Cottingham (09:48):

19
I'm pretty sure it's over 500.
Willie Harris (09:50):
Yeah. Cause I'm in my mid forties now and I've been doing this since I was 14, 15 years old.
Daric Cottingham (09:57):
That's, a little over two, two decades almost.
Willie Harris (10:04):
Yeah. 25 almost 30 years, yeah. I'd say in a month’s time there's nothing for me to get like seven,
eight pairs a month. The most I've bought in a day is probably three. So it can become a problem.
I'm blessed to have a good paying job where I can take care of my necessities and feed my
addiction at the same time. So to speak.
Daric Cottingham (10:32):
This is very very true. I remember growing up and sneakers and looking good, you and mom,
just being able to present yourself was like the guilty pleasure, of y'all's.
Willie Harris (10:45):
Exactly. I had a mentor, when I was growing up, told me, "You might not be the CEO of a
company, but it don't make, what you can look like one. So always present yourself, clean cut,
nice hair cut shave whatever, nice clothes. Even if they're not name brand, you can still iron
them, wash them, put colors together." So that always stuck with me.
Daric Cottingham (11:12):
And I've always appreciated that you kind of pass that on to me and [Marisse 00:08:57] and we
were able to learn that lesson early on. You don't need designer, to look good.
Willie Harris (11:25):

20
Right.
Daric Cottingham (11:26):
On my next question, if you had to pick three favorites from your collection, what would it be?
Willie Harris (11:31):
Of course the Bred 4s, probably be one. It's kind of hard, just three. I have a pair of Off-whites.
Off-white 1s, the [Canary and Colorways 00:11:45], that's probably number two. Three might be
a tie between my Sean Wotherspoons Air Max or my Lebron Corks. I was lucky to get a pair of
Lebron Corks in a raffle. There's probably top three or four. There's so many. I'm going try treat
kicks like your kids, you can't choose your favorite pair. I can definitely say Jordan 4s, like I
said, it's my favorite civil wear. So anything Jordan 4, probably going to be one of my favorites.
Daric Cottingham (12:17):
Okay. Okay. Okay. I think you can pick a favorite kid. I know it's me but we won't say that.
Because I'm pretty sure [Marisse 00:12:31] is going to listen to the podcast, but we're not going
to say that, but we know, for the rest of the world we're just not going to give a answer. My next
question, what do you think about the increase of sneaker hype in Hypebeast culture? Have
things drastically changed since you started collecting sneakers?
Willie Harris (12:49):
Absolutely. We all get into the Hypebeast, you can't help it. I think the two main drastically
changes have been, resellers and the bots. And I'm not trying to knock anybody hustle on
reselling cause I know if I get into some bad times, Hey I've got to sell the product back, sell
instantly, it can be in pretty good shape. And some of the guys that I follow, online, are big
resellers and they're pretty cool people. So I don't want to say I'm knocking their hustle, but I
can't stand the bots.

21
Willie Harris (13:31):
The bots have pretty much ruined everything. I've taken so many Ls on shoes that I've wanted.
Just because you can click the add to cart button and before you can even click on it, it's saying
it's sold out. So bots have really changed it. And I think they may go hand in hand, bots and
resellers, for the most part, bots is the worst thing that ever happened. And that's pretty much
anything now on things cause I think when you're trying to buy tickets for concerts and whatnot,
the scalpers and whatnot are just bottling everything up and there's just, don't give a chance for
the average person that actually wants the shoe. Most of them order the shoe, I guess, display the
shoe. They just want to flip it. But like I said I'm not trying to knock their hustle cause, it is what
it is. You find a business, venture into it, might as well take it.
Daric Cottingham (14:30):
It's true. And you know how I feel about bots and resellers. I'm totally against it. Only cause I've
been on the receiving end quite a bit. Also I remember the first time I saw it happen and I just
didn't understand how there's so much technology in the world that bots are a thing. And then
secondly, like you said, I'm not going to knock a hustle of resellers, however, I do have a strong
opinion about Hypebeast culture and resellers.
Daric Cottingham (15:09):
Just because, like that lesson that you taught us when we were growing up of, it doesn't have to
be designer or it doesn't always have to be a certain label of things but you can always still look
nice without a certain label or name brand. And I do think resellers and Hypebeast culture kind
of perpetuate this need of having a brand or having a name tag on you or name brand from head
to toe, which I strongly don't believe is a necessity per se or a lifestyle that I perpetuate on,
because resellers like I'm into thrift stores and vintage and I think that type of reselling is okay

22
because it's the ethics of it all, but I'm not a fan of bots. I'm not a fan of the resellers, though.
They take over everything.
Willie Harris (16:04):
They take it over, everybody has their number, and if you set a price on something, if they want
it they buy it.
A Podcast version of this transcript was originally published on Spotify, and Apple Podcasts, on
August 24, 2020. It has been republished here with permission from the editor.

23

Part Four: Style and Flair: Sneaker designer Ron Wright on his two
most culturally relevant sneakers

Ron Wright never dared dream that the days he longed for Nikes through a shop window
in Portland, Ore. would one day lead to him designing sneakers worth ten times as much.
Wright, 51, is a sneaker designer from Portland, Ore., and vice president of kids’
footwear design at Nike. He’s the son of hippies, who smoked weed and sang about Jesus. His
father was one of the first Black firemen in Portland. His mother was a bubbly socialite who
could sing and inspired her son to pick up music and sketching. . These passions were joined as
Wright joined a band in high school and designed their performance outfits and stage setups for
every show they did. He combined these passions in high school by joining a band and designing
the group’s stage outfits. Faced with having to make a decision before graduating; the latter won
out.
“I had to make a decision. It's Portland, Oregon, you know, ain’t too many music [or]
entertainment things were up here at that time. And so, I chose design as my path,” said Ron
Wright.
11

In April 1994, Wright was offered his first apparel design role with Peter Moore at
Adidas. He would spend seven years at Adidas. During his time there he designed one of the
most culturally relevant sneakers to date, the Adidas All Day All Night.
12

11
Wright, Ron. 2020. Phone Interview. November 4, 2020.

12
Stinsmuehlen, Jason. "Adidas - All Day All Night." Vimeo. March 09, 2021. https://vimeo.com/113543391.

24
“I remember designing the shoe for Adidas called All Day All Night. Back then you
couldn't get in the clubs with sneakers, you could get in with Timbs (Timberland boots) [but] you
couldn't get in with sneakers. So, I designed the first basketball shoe to use peanut butter nubuck,
but people just thought I was designing a Timbs and they didn't get it. It's called All Day All
Night for a reason. Like we just love to be in our culture and our style and our flavor. That stands
out to us. As a Black culture, we like to stylize; we really like to personalize everything. It's a
part of our nature to be for lack of a better word, flamboyant — out there,” said Wright.
Despite the trailblazing Black “aesthetic” of sneaker and streetwear culture, the dress
code of public social venues is still often policed
13
by outdated notions of “proper” appearance.
Dress codes that seem harmless and unbiased are in reality made only for the Black bodies
wearing the clothes and not the clothes themselves.
“Dress codes have always been notoriously racist,” said Toronto-based culture writer
Wanna Thompson. “Especially as we examine it in regard to nightclubs and lounges. I’ve
witnessed Black people, specifically Black men be vilified for wearing sneakers, durags, baggy
pants, and more while white and/or non-Black individuals have been allowed to bypass this
racist system.”
14

The Adidas All Day All Night that Wright designed meant so much for Black culture
because it opposed that racist system, where our style is coveted yet policed on Black bodies. It’s

13
"Restaurant Dress Codes Have Long Been a Tool for Racist Discrimination." VICE.
https://www.vice.com/en/article/pkyk5y/restaurant-dress-codes-have-long-been-a-tool-for-racist-discrimination.

14
Thompson, Wanna. 2020. Email Interview. November 14, 2020.

25
our cultural identity being asked to minimize itself when out in a Eurocentric world. But Wright
believes without us, there is no sneaker culture.
“Black people,” Wright told me, “we have our love and our desire to be unique, to have a
desire for our voices to be heard through our style, our sneakers, our creativity, our persona. We
just have a desire to be heard and I think sneaker culture was born out of that thought of being
heard throughout what we like to showcase.”
That style and desire to express ourselves doesn’t require the most expensive sneakers or
hyped brands; it simply is us being who we are even when we can’t afford the high-end items.
Because that’s just the surface level and commercial view of a truly authentic culture. Though
he’s worked at Adidas and currently holds a top design position at Nike, Wright’s creativity and
interests since he was a child is the true essence of our culture.
“There's this mom-and-pop store in Portland on 30th and Alberta Street, and they’re no
longer there,” Wright said. “I used to ride my bike over there, and I could never afford Nike, so I
bought all the posters. I had the Dr. Dunkenstein poster,
15
the Iceman Gervin poster,
16
the
Supreme Court poster.
17
You name it, I had all of the posters because I wanted all the shoes, but

15
Woodyard, Eric. "The True Story behind Former Utah Jazz Star Darrell Griffith's Classic 'Dr. Dunkenstein' Nike Poster."
Deseret News. February 24, 2018. https://www.deseret.com/2018/2/24/20626218/the-true-story-behind-former-utah-jazz-star-
darrell-griffith-s-classic-dr-dunkenstein-nike-poster.

16
Harris, Don. "EXCLUSIVE: 'The Iceman' Cometh before MJ." WOAI. May 11, 2020.
https://news4sanantonio.com/news/local/exclusive-the-iceman-cometh-before-mj.

17
"Poster, The Supreme Court, 1977–79." Cooper Hewitt, Smithsonian Design Museum.
https://collection.cooperhewitt.org/objects/18618237/.

26
my parents would never buy those. They would buy me some Payless basketball shoes. And
that's what I grew up in,” said Wright.
Though he couldn’t afford the hottest Nikes as a child, he was still part of sneaker
culture. And now, he can afford all the sneakers he wants. He’s designed and overseen some of
the most coveted sneakers such as the Nate Robinson KryptoNate Foamposites
18
that resales for
up to $5,000 on StockX and as high as $9,840 on KicksCrew.
19

“Nate Robinson wore the KryptoNate Foamposites in the dunk contest when he ducked
over Dwight Howard. I designed those,” said Wright with a proud laugh of the fond memory.
Contributions like Ron Wright’s are the heartbeat of sneaker culture. A sneaker designer
who could never afford the shoes he makes today but was ingrained in the creativity and freedom
of expression since he was a child. Whether it’s designing a sneaker that battles a part of
systemic racism or an iconic pair in NBA history each utilized the natural “style and flair” that
Black designers like Ron Wright embody naturally. His pining for sneakers in shop windows led
to a future of designing them and sparking more cultural change than he could have imagined.

18
Sole Collector. "The 10 Best NBA Slam Dunks (and the Sneakers That Were Worn)." Sole Collector. October 20, 2016.
https://solecollector.com/news/2016/02/illustrated-dunk-contest-moments.

19
"Nike Foamposite Lite 'All Star - Kryptonate' Basketball Shoes/Sneakers." Air Jordan, Yeezy, Supreme, Nike, Adidas,
Sneaker Shop. https://www.kickscrew.com/catalog/product/view/id/217095.

27
Part Five: Black Women and Sneaker spaces
Sneaker culture isn't just an outlet for men. Black women have long found a space to
express themselves through the fashion of sneaker and streetwear culture. Whether they are OG
sneakerheads, business owners, bloggers, sneaker reporters, etc. they are a force driving the most
popular trends and innovation in sneaker culture.
“I've always been into sneakers, ever since I really couldn't remember,” said Tiona
Deneice, a singer-songwriter from Buffalo, N.Y. She was maybe 12 years old, and a self-
described tomboy who played sports. From that age, Tiona found a way to express herself
through running sneakers. "Once I really started, like wanting to be cute for boys and stuff like
that. I was like, ‘dang; I can't really wear these basketball sneakers because they just look so big
on my feet.’ And I was going through the East Bay catalog, at my friend Amber's house, and she
was like, 'why don't you try running sneakers that might be kind of cool. It might make your foot
look a little smaller; it might give you a look that you're going for.'” She stopped on the page
showing the Air Max 97. “And I'm like, 'Oh, look at these.' And that was the first shoe that really
kind of introduced me into wearing running shoes."
20

Tiona noticeably stood out when she was younger – she was bigger and taller than all of
her friends. So, she wanted to find a look that complimented her and not hide parts of who she
was. “And I didn't really ..." she pauses to look for the words that best describe how she wasn't
like the other girls. "I wasn't really comfortable with wearing heels and dresses and skirts and
stuff like that growing up. That wasn't my thing."

20
Deneice, Tiona. 2020. Phone Interview. September 29, 2020.

28
So, she incorporated sneakers into her everyday style. "What really just attracted me to
sneaker culture and just sneakers, in general, is that they were comfortable. And they were just
cool-looking to me. And I felt like I was myself. It was allowing me to have that expression
while at the same time like getting the respect [from] guys; guys being like 'Oh, those are dope.
Oh, you work at footlocker like, oh, you're cool. This outfit is dope.' And kind of getting that
respect, even you know if I wasn't necessarily [the traditional ideal of] 'sexy,' you know,” said
Tiona.
It was a similar story for Jazerai Allen-Lord, a 39-year-old sneakerhead from San Diego,
CA, currently living in Edgewater, New Jersey. She got into sneakers as a young girl and credits
Punky Brewster as her first style icon.
"I just always was a quote-unquote 'tomboy.' As somebody that grew up in the '80s, that
was the term that we identified with. I was a girl who needed footwear for function and never
was a traditionally feminine young girl," said Allen-Lord.
21

While similar to Tiona's experience as an OG sneakerhead, Allen-Lord's entryway was
through the skate and surf culture she was surrounded by growing up in San Diego, CA. Early on
in Chucks and Vans, she found herself and didn't become interested in basketball shoes until
later in life. Around 2002, she became a sneaker collector through her love of Nike SB
(skateboard division). A time before Nike's SNKRS apps and StockX, an era of camping out for
sneakers and meetups to trade, buy and sell whatever shoe your heart desired.

21
Allen-Lord, Jazerai. 2021. Phone Interview. March 11, 2021.

29
"I would meet up with girls at different picnics and malls and parking lots and be trading
shoes. So, I have the 'Send Helps' [Dunk High Pro SBs], and you have the [Dunk Low Pro SB]
'Money Cats,' and we are going to make a trade. But it wasn't a reseller culture in the way that we
know it today," said Allen-Lord.
Meet-ups were just as natural to sneaker culture as the innovative styles and trends Black
women brought to the culture. These styles can be seen all throughout hip-hop music history,
22

on artists such as Mary J. Blige, TLC, Missy Elliot, Lil Kim, Queen Latifah, and more. The
influence of Black women has been built into sneaker and streetwear fashion for decades. It’s a
cross-generational feat that Black women are the pulse of the culture. They know what trends
and styles have been at the forefront of creating some of the most popular and culturally relevant
sneakers.
"Black women are the archetype,” said Allen-Lord. “What do we see women represented
as in sneaker culture? Baby hair, high ponytails, beat eyebrows, grills, gold chains, layered gold
chains, [embellished] stiletto nails, crop top, and the Aaliyah look big baggy jeans and the crop
top. That's a black woman, period. And the archetype of style and street culture is a black
woman. Beyond that, we look at the foundation of sneaker culture; it's the Black community."
Access for women in sneaker culture is fundamental to Allen-Lord. But making proper
space
23
for Black women hasn’t been a quick process. For a long time, brands didn’t offer many

22
Anyanwu, Obi. "'The Remix: Hip-Hop X Fashion' Details Women's Contributions to the Genre." WWD. July 24, 2020.
https://wwd.com/eye/lifestyle/the-remix-hip-hop-x-fashion-details-womens-contributions-to-the-genre-1203685227/.

23
Lawrence, Jessica, et al. “Female Sneakerheads Are Being Chronically Underserved. Here's What Needs To Change.” British
Vogue, 14 Nov. 2020. https://www.vogue.co.uk/fashion/article/female-sneaker-fans.

30
flattering designs for women, from colorways down to the silhouette of the shoe. “Shrink it and
Pink it”
24
became a running joke and phrase to describe the sneaker designs they were given.
She's been fighting the pink fight for 20 years and counting, raging against the machine of
"shrink it and pink it" when it came to sneakers for women and young girls.
"They've been saying shrink it and pink it for as long as I've been alive, I feel. And it
comes in waves. So, I've seen the culture come to this height of a wave three times now. I think
we've come a long way from where we were, mostly [regarding] access and sizing. However,
access for women to actually purchase is still totally amiss," said Allen-Lord.
She says every shoe that dropped before four years ago wasn't below a seven. Even with
the unisex or the men's options, women were still locked out. Despite production expanding into
more inclusive sizing, a new problem of access through buying power now exists. With the
modern resale market, access is hindered because it is common to target small sizes due to them
being easier to buy in bulk on release days. They then put them on the resale market for double
retail value, pricing out women even though the shoes were made for them.
But there are women like 23-year-old Valley Stream, NY native Rachelle Saint-Preux
trying to change this. She is co-owner of The Vault 516, an online sneaker boutique founded in
April 2020. She got into sneakers by being infatuated with her older sister's sneakers when she
was in elementary school—flopping around the school hallways in size six shoes when she wore
a three-wide.

24
"Beyond 'shrink It and Pink It': Brands Are Rethinking Their Approach to Women's Sneakers." Glossy. April 25, 2019.
https://www.glossy.co/fashion/shrink-it-and-pink-it-brands-are-rethinking-their-approach-to-womens-sneakers/.

31
"I was stealing my sister's [Air Jordan] low top University Blue two's. I didn't know what
they were; I just knew I liked them," said Saint-Preux.
25

In 2004, she pilfered her sister's Air Jordan Cool Grey fours. Saint-Preux would rock
these until they were worn down.
"I would wear them to school, and when [my sister] would pick me up, I would change
right before I ran out to her car. So that she wouldn't know," said Saint-Preux.
Her older sister had lost interest in sneakers. But Saint-Preux was falling in love with
them, and ever since, she's been a bonafide sneakerhead.
As a day job, Saint-Preux works as a team lead at Laced Up, a growing tri-state retail and
consignment shop originally based in Albany, NY. But after her 9-5, she works with the other
two co-founders of The Vault 516 to provide access to some of the most coveted sneaker
releases. Ironically Saint-Preux says she "hated" reseller culture, and in some ways, she still
does. But a good friend recognized her talent to identify, authenticate, and price sneakers for the
resale market.
"I had just graduated from Cornell. A good friend of mine approached me with the idea,
we laid the groundwork and the pandemic summers turned into, turned into honestly, a full-
fledged business that we take extremely seriously," said Saint-Preux.

25
Saint-Preux, Rachelle. 2021. Phone Interview. March 11, 2021.

32
As a Black woman navigating the business side of sneaker culture, she understands how
uncommon these spaces include women.
The Vault 516 is two-thirds women-owned and an anomaly in the resale market. Often,
when Saint-Preux is doing business, potential customers automatically engage, assuming she is a
man.
"Everyone that comes up to us, the first thing that they're always saying is like, 'bro, yo
boss,' this and the third. And it's not because they're using those as gender-neutral terms. No,
they think they're talking to a man," said Saint-Preux.
The archaic ideas that men run businesses while women are just meant to stand by their
side seep into sneaker culture, manifesting in women's misogynistic treatment.
"Even in the sneaker game, you're still getting told like women on the street to smile.
[The] messaging that a woman will deal with all transfers over to sneaker culture but in a worse
way. If you think that your male boss in an office [treats] you like you don't know what you're
doing cause you're a woman. In sneakers? Oh man, take that and multiply by a hundred," said
Saint-Preux.
But for Black women fighting to be seen and respected in sneaker culture also requires
being seen. It requires the various origin stories and experiences of Black women sneakerheads
to be told with nuance. Mikayla Cumberbatch, a 28-year-old Brooklyn native, is a sneaker and
luxury goods authenticator by day and sneaker blogger by night. Growing up, she wore school
uniforms, and her family would frequent the infamous department store Cookies in Downtown
Brooklyn.

33
"Outside of Cookies, there were these people, selling fake Air Forces. My parents did not
know. So, they bought me multiple pairs. You know the bootleggers that'd be outside," said
Cumberbatch.
26

When she wore them, she noticed something felt off with the fit and feel of the shoe. She
was embarrassed but notes this moment as when she dove into sneaker culture and
authentication.
"I was wondering why [they felt stiff]. And then, one of my classmates pulled me to the
side and told me that they were fake. So, ever since then, I've been into sneakers. I have to make
sure that I would never wear a fake pair of sneakers ever again," said Cumberbatch.
This new passion led to her creating Her Sole in 2017 as a platform for Black women in
sneaker culture, a magazine-style blog."[Created] to show people that look like me or any other
girl that can relate to me that's into sneakers too, that there's a space for us," said Cumberbatch.
Her Sole is rooted in building a community amongst Black women within sneaker
culture. Highlighting and supporting every niche representation of Black women in sneaker
culture is the goal from streetwear brands to editorials on sneaker collections. Because how
Cumberbatch defines being a sneakerhead is simple and inclusive.
"I define being a sneakerhead as somebody who buys what they like as opposed to
following trends," said Cumberbatch.

26
Cumberbatch, Mikayla. 2021. Phone Interview. March 11, 2021.

34
This inclusion and representation matter in the age of social media and Instagram that
often pushes Black women to the side and treats them like they are invisible.
"It is discouraging as a Black woman every day to wake up and have media shoved down
your throat that you know is not true of you. Beyond that, it's heartbreaking to scroll [through]
media every day as a black woman in sneaker culture and never see a true representation of
yourself. And it feels like a slap in the face to know that this is an active conversation for years,
and we're still having the same conversation," said Allen-Lord.
But there are people doing the work to make sneaker culture more inclusive in the
journalism industry by centering the nuanced experience of Black women sneakerheads. This
allows for a more authentic portrayal of broader sneaker culture.
“I think it's very important to know a little bit about the history of shoes. It's always good
to look back at the past to see how far you've come,” said Ticara Devone, a 31-year-old sneaker
reporter and personality from the west side of Chicago. She’s been professionally writing about
shoes for five years. Sharing sneaker news and new products and technology from Nike, Adidas,
Reebok, and other companies. “It’s cool to be able to be like, ‘Hey, I like Air Jordan ones, or I'm
a big fan of Virgil's Off-White sneakers.’ But you can go deeper when you learn where that shoe
came from. Why did they create it? What materials did they start out with? Where are they going
with the materials now? What are some of the newest silhouettes that have been created from
something that was considered [an] OG?”
27

27
Devone, Ticara. 2020. Phone Interview. October 29, 2020.

35
Devone says Black people and sneaker culture are inseparable. “I think the Black
community is sneaker culture. I don't think that's ever going to change.” As a Black woman from
Chicago, Devone is ingrained in the sneaker culture and its subculture that influences it,
including hip-hop, sports, and TV/Film. Because she understands mainstream publications won’t
always properly credit the historical and cultural impact the Black community has within sneaker
culture it influences her work.
“Growing up in the city of Chicago, stepping outside of my front door, I would see
people walking down the street in a low top Air Force One,” she recalled. “And I just knew I had
to have that shoe when I was going back to school. I think Black people have always been
trendsetters. I just think we don't always get [our] just due when it comes to that. So, I think it's
important that people like myself, we continue to educate and we, you know, push forward the
narrative, giving back sight on Black people within [sneaker] culture,” said Devone.
As a Black journalist reporting on sneaker culture, Devone understands the lack of
representation, and through her work, she properly uplifts the trendsetters who made sneaker
culture what it is today. Because there are so few Black voices being acknowledged in
mainstream news coverage about sneakers, she feels it’s her duty to be an example for young
Black girls that may want to work as a sneaker reporter.
“I [don’t] want to be the only Black girl in the room. That's not how you get ahead, you
get ahead by having 10 more Black girls in the room doing this thing and we're becoming
properly represented. So, I try not to focus as much on … that we're not being represented. It's
like, ‘Okay, how can I do my part to make sure that we are?’ I can't focus on what somebody
else is doing, I can only focus on what I'm doing to help change the narrative,” said Devone.

36
Devone’s hope through her and other Black sneaker reporters’ work is that 10 years down
the line Black people, especially Black girls, see these publications created with them in mind.
Whether it’s a digital publication or a new social media platform, she wants these young Black
people to get the proper representation — one that reflects their lives and the neighborhoods they
grew up in, that in turn influenced the current sneaker and streetwear culture aesthetic — a
representation Devone didn’t feel she had fully growing up.“Different publications don't always
share, people who look like me,” she said. “The Black girl with natural hair, or the Black girl
with the long ‘ghetto’ nails or those type[s] of things.” But ultimately, she feels all the work
that’s being done now is going to pay off and people are going to finally feel included in this
space, especially Black women.
These Black women bring the flavor and swagger to sneaker culture that would not exist
without them. They are the archetype of femininity in street culture. Black women sneakerheads
come with different tastes, perspectives, and styles that people will copy and repackage in a more
mainstream, eurocentric way. Once Black women in these vast sneaker spaces receive the
respect and acknowledgment, they deserve it will allow for structural change for young Black
girls to be included in mainstream sneaker culture.

37
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Asset Metadata

Creator Cottingham, Daric Lamar (author)

Core Title Sole cry: the layers of sneaker culture

School Annenberg School for Communication

Degree Master of Arts

Degree Program Specialized Journalism

Publication Date 04/08/2021

Defense Date 04/07/2021

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag culture,Fashion,hip hop,Nike,OAI-PMH Harvest,pop culture,sneaker culture,sneakers

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Tolan, Sandy (committee chair), Alston, Trey (committee member), Turner, Myra (committee member)

Creator Email daric.cott@gmail.com,dcotting@usc.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c89-437688

Unique identifier UC11666658

Identifier etd-Cottingham-9416.pdf (filename),usctheses-c89-437688 (legacy record id)

Legacy Identifier etd-Cottingham-9416.pdf

Dmrecord 437688

Document Type Thesis

Rights Cottingham, Daric Lamar

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the a...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA