When the original Nike Air Max debuted in 1987, the visible air cushion embedded in the sole was a revolutionary piece of sneaker technology. It was so shocking to Nike marketers, in fact, that designer Tinker Hatfield had to fight for its inclusion in the final product. Good thing he did. Because now, 30 years later, it's still one of the coolest features of the Air Max line. Especially given that, beginning with the Air Max 97, it has expanded to encompass the entire sole.
As part of the ongoing celebration of the the line's big 3-0, Nike is set to release the new Air VaporMax on Air Max Day, March 26. It's the realization of a dream that started three decades ago: walking on air. For the first time, the Flyknit upper sits on a sole that's not just cushioned by an Air unit, but actually is an Air unit. In honor of yet another momentous design triumph for the Swoosh, we spoke with Nike Running creative director Andreas Harlow, who's been involved with the Air Max line for nearly a decade, about his team's work on the new Air VaporMax—a sneaker that he proudly calls his favorite.
Here's how the bold new design fits into the 30-year story of one of Nike's most iconic shoes.
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On how important innovation is, even with a classic sneaker line:
You know, my job and Kathy's [Gomez, Nike VP of Innovation] job is to imagine the future. We're always trying to make something better. And more attractive, more appealing. So I think that's built into Max. It certainly provides motivation when you look at what's been done before. You know, we're mostly a competitive group of people, and it makes you better. When you look at those products as a designer, you want to rally. You want to do a great job and you want to somehow add to that lineage in a positive way. So I love that kind of challenge. It's super motivating, and we have a large group of people—a large team—that I think enjoy that challenge as well.
On what people continue to find so appealing about the Air Max line:
We're lucky in a sense that we have all those heritage products still alive. And I think maybe it's two things: I'm pretty sure there's something unique about Air, just the concept of walking on air I think is novel and compelling, and I think that draws people in on a very basic level. You know when I was a lot younger and I saw my first Air shoe—which was an Air Max 1—I remember holding that window up and looking through it and going, "How is that possible? How is it possible I'm walking on this thing of air?"
But it made sense even as a young person. So I think that's always there and you see a lot more of that in the modern interpretations of that shoe. It's visual magic, for sure. It's this shoe that's floating on this impossibly light thing underneath it. The other part is the sensation—there's definitely a unique sensation. No one really delivers that but us, I think, in that way. So that's part of it. And then I think maybe the second part is that there's an emotional design that sort of wraps around all of this—wraps around the sensation and even around the concept, and we're at our best when we combine the two. There's that science that makes it a better product, and then there's some aesthetic magic that makes it attractive to, hopefully, a wide group of people. And I think what we've done lately, which has been really nice, is we've expanded that to deliver fundamentally that same innovation, but to different groups of people. So in that way you're giving it the flavor they want, but you're also giving them the benefit of all that innovation. If it just came in one flavor, they might not think about buying it and getting the benefit from it.
On considering form as well as function:
I think it's always there in the sense that you want to create things that are attractive, that draw people in; that are not divisive, they're inclusive. So we think about that. I think it's probably more important now than it's ever been. But I'd also say that at the core of what we do, we start off solving those athletic problems, and hopefully exceeding athletes' expectations. And in an interesting way, that in itself drives a new aesthetic. And it drives a new sensation too sometimes, but it drives that aesthetic and, over the years, that aesthetic—which may have initially been received by just athletes—now has crossed over into culture. And, you know, we'd be blind if we hadn't noticed that.
But I do think it's a balance of the two things. I think if you just think solely about how something looks you might not get to the most compelling solution. I really believe that great design is a combination of function and aesthetics, and, you know, without the two coming together, it's just not the complete package. So personally I like how, when we're trying to solve foundational problems, it drives you into this new space. It forces you to draw and create things that you might not have imagined—that you certainly wouldn't have gotten to by looking at influences just in the aesthetic design. And I think we're pretty good at that.
On the challenges of designing the Air VaporMax:
There were countless smaller hurdles, for sure. But I would say bringing the two [outsole and midsole] together was probably the biggest challenge. You know, we were trying to create this kind of complete package—this symbiotic relationship. And when you adjust one thing you have to adjust something else, so it can get pretty hectic because of all that adjustment. But it's a process of trial and error. And it's also a process where you are narrowing in on things. You are sort of playing Battleship in a way. You can eventually find these places where you get the results. There's a lot of tuning going on, let's put it that way.
On taking a step back and appreciating a new design:
You know, moments like this are pretty special, and I kind of acknowledge and cherish them because it is a point at which you sort of let the birds leave the nest, so to speak. The thing is out on the market and people are going to do with it what they will. But I'd be lying if I was saying that I hadn't already been thinking about the next one.
But this is a moment, you know. It's a big deal. And when you finally get something done, it's being produced, people are enjoying it, and you know it crosses over into culture—that's a great feeling. In fact, I would say, that's one of the things that's super motivating as a creative, when you get to see that go out and millions of people get to enjoy it. It's pretty special. It's fun, you know.
On seeing his designs out in the real world:
I've got to say, it is kind of amazing when something new comes out—I've worked on a bunch of Free shoes over the years as well, and Air Max 2 and Luna, a lot of the running shoes—and you fly around the planet and, lo and behold, you're on an island in Fiji or in New York or whatever, and that creative solution, that piece of innovation, is literally everywhere you go. It's pretty cool. And people send you emails or you read things, and there's a real passion, a love for that product. It's pretty cool. It's a good feeling. It makes it kind of easy to get up in the morning and go to work and work on the next one.
On where the Air VaporMax ranks for him personally:
I think favorites kind of do rotate a little bit, depending on your perspective. I think some people have favorites because it reminds them of a moment of their childhood or a special event or occasion—that's one kind of favorite.
You know, being a creative, and being a footwear designer, I tend to think of it in a slightly different way, and it's more about being engaged with the product and all of the achievements that are built into it. And that's why this product [the Air VaporMax] is my current favorite. If I were to think about it as a child, it might be a different favorite, but for sure as a creative, this is the one. And I think it will be for a little while. I'm convinced.
