The Global Footwear Awards is honoured to feature one of its esteemed jury members, Sissi Johnson—an influential cultural broker whose work spans the fields of fashion, academia, and the arts. With a remarkable career that began in the fashion industry and evolved into global thought leadership, she has consistently championed innovation, cross-sector collaboration, and education.
Her contributions include developing pioneering academic programmes, fostering strategic partnerships across industries, and mentoring the next generation of creatives and entrepreneurs. From engaging NASA and the NFL in cultural discourse to receiving recognition from institutions like Yale and The Anthem Awards, her impact is both far-reaching and deeply resonant.
In this exclusive interview, Sissi shares her journey, guiding philosophy, and vision for the future of design and creative education.
Sissi and Olympian, Activist & Model Sierra Quitiquit attend the New York Times Fashion & Style Conference
Can you tell us about your background? How did your journey to become such a prominent figure in global arts & culture as well as academia begin, and where did it take you over the years?
Modeling allowed me to observe and absorb knowledge from every corner of the fashion industry. I immersed myself in everything from the creative processes of photography and styling to the technicalities of product design, supply chain, public relations, and marketing. My goal was never fame; I sought to understand how ‘the machine’ operates, interconnects, and evolves.
While studying in China, I developed my first curriculum, ‘The Business of Modeling’, addressing a critical learning gap in fashion schools’ programs. This self-initiated project sparked a lot of academic interest and started my teaching journey.
To this day, I do not hold a PhD or possess a linear academic path or career. Yet, I have held residencies and taught my proprietary MBA courses at the world’s top fashion and business institutions. In my role as professor and mentor, I always strive to encourage learners to innovate and create impact through creative problem-solving, rather than reinventing the wheel.
“‘What you seek is seeking you’ – Rumi’s insight guides my approach as a cultural broker and matchmaker. I translate languages and concepts that allow artists, brands, industries, and institutions to find unexpected common ground.
My work uncovers hidden commonalities among seemingly contrasting entities, transforming potential friction into opportunities for impactful collaboration, social and commercial value. For instance, involving NASA and the NFL in the Berlin Fashion Film Festival’s 12th edition raised eyebrows, but to me, it was a natural fit.
NASA’s popularity in fashion and the undeniable fusion of sports and style justified this unconventional pairing. The resulting ‘Runway Exodus’ Symposium marked Kyle Smith’s first international speaking engagement as the NFL’s inaugural Fashion Editor. Smith also served as a jury member, alongside Michael Lentz, Art Director at NASA.
My classroom has always been a laboratory of mutual discovery, experiment, knowledge, and a stage for cultural diplomacy. This reciprocal relationship has been the cornerstone of my career, keeping me at the forefront of global trends, cultural shifts, consumer behavior, and innovation.
I have taught students from over 150 nationalities on every continent (except for Antarctica). In a “follower” obsessed world, what I find particularly gratifying is the expansive global network and social fabric that has emerged from these teaching experiences. I can proudly say I have former students, business collaborators, and friends in nearly every country. We are a vibrant and intentional community that continues to educate and support each other long after formal classes have ended.
Sissi and fellow GFA judge Sean Williams teaching their award-winning sneaker culture MBA program at HEC Paris
Growing up, I witnessed the introduction of luxury logos in music videos and the frequent name-dropping of high-end brands in hip hop lyrics. This observation led to years of studying the complex relationship between the hip hop and luxury industries. Their complicated symbiosis involved mutual influence and reshaping, as well as resistance and resentment. My research and experience in luxury fashion, informed by this nuanced understanding and passion for disrupting academia, ultimately culminated in this course.
The program has been taught at over 32 top global business schools, including ESSEC, HEC Paris, Yale School of Management, and GNAM, reaching students from more than 80 nationalities. Its relevance in academia was further underscored when Gabriel Rossi, Assistant Dean of Faculty & Curriculum at Yale University, enrolled. Both physical and digital, my classroom welcomed executives from industry giants like Adidas, LVMH, TikTok, Kering, and Amazon Group, highlighting the course’s appeal across academic and corporate sectors, and its adaptability to various learning environments.
A significant milestone in the course’s journey was its official endorsement by The Hip Hop Museum. The museum’s founder, Rocky Bucano, contributed as a guest of honor, leading to my appointment as a Member of the Board of Trustees for the museum, set to open in NYC in 2026.
The program’s impact was further recognized in 2024 when The Anthem Awards acknowledged it for social impact excellence in education, arts and culture, literacy, and media categories. Selected from over 2,000 entries across 44 countries, this placed our Luxury Brand Management program alongside notable cultural icons like Misty Copeland and initiatives such as the Elton John AIDS Foundation.
I maintain a broad yet focused approach through connection, curiosity, and cross-sector collaboration. The international board and leadership roles I hold, ranging from museums in New York to fashion film festivals in Europe, as well as my teaching experiences, provide me with high-level strategic insights and invaluable social listening. This combination sharpens my ability to discern genuine industry shifts from fleeting trends.
Sissi in John Galliano for Christian Dior Couture Fall/Winter 2009 – Cathleen Naundorf All rights reserved.
In college, a friend and I used to daydream about appearing in a Maxwell music video, his rendition of ‘This Woman’s Work’ on constant repeat. Fast forward over a decade, I found myself not just appearing in the visual, but art directing and executive producing it. The project even drew from a beauty course I’d developed. It was a full-circle moment, weaving together youthful musings and my adult professional reality.
I gravitate towards designs that challenge conventions while honoring craftsmanship. To aspiring designers, I say: cultivate curiosity and skills beyond your industry, embrace risk-taking, and take a leap of faith. The net always appears, and what’s de layed is not denied.
The next big innovations will continue to emerge from collaborations with people, fields, and techniques we don’t yet associate with fashion. There lie countless opportunities to thrive, regardless of one’s background.
Could you tell us about the origins of Sneex? What motivated its creation, and how has it evolved into its current identity?
I felt inspired to create this because of my own foot pain in heels. I also get fired up when something in the marketplace doesn’t change for long periods of time. I kept coming back to the idea that I wanted my high heel to feel as comfortable as my sneaker. I was also bored with the other options I had in my closet. I wanted a shoe that had height but reflected the current fashion trends. Sneex fill a void I felt in my own wardrobe. Our intention was to create a new option for women that was timeless and feminine, and that evoked feelings of confidence and power.
What inspired the creation of The Tepper? Was it a product of creative vision, or did it emerge in response to a specific market need or gap?
The Tepper (named after my daughter!) is our one strap style, the most premium of the current line. It has a more intricate design, and it’s made with luxe materials like Leone mesh from Italy. I named a style after her because I want Tepper to grow up knowing she does not have to sacrifice comfort to feel beautiful.
Sneex is unique for combining stilettos and sneakers. How did you balance these two styles to create a design that works so well together?
I set out to create the world’s most comfortable stiletto. I did not set out to create a sneaker heel. This is where the innovation led me. The lightbulb went off just as I was about to throw in the towel, until one day I said, “I just want my heel to feel as comfortable as my sneaker.” We re-engineered the weight distribution to relieve the pressure on the ball of your foot, we closed the gap most heels have between your foot and the shoe for whole-foot support AND we invented a design that prevents toe squeezing.
Through The Tepper, you’ve challenged the traditional look of high heels—and the pain that came with it. Could you explain how your design led to a comfortable yet stylish high heel?
In fashion, there has always been an ongoing battle between functionality and beauty. There’s almost always a compromise. I was inspired to say “what if? What if we didn’t need to compromise at all?” I wanted to design the most comfortable stiletto that was bold with a feminine aesthetic and versatile. Sneex is all about blending contrasting concepts in a beautiful way.
Can you describe some of the main challenges you faced in creating this hybrid design and how you addressed these issues?
It wasn’t easy! There were starts and stops and ups and downs. We spent years working to solve the main pain points that women commonly feel in high heels. The problem is that most people who make women’s high heels aren’t wearing them. There was a lot of resistance because we were challenging the way things have “always been done.” But my greater purpose has always been to give women better, more comfortable options. Even in times when I doubted myself, my purpose gave me the courage to keep going.
What do you think the rise of hybrid designs like The Tepper says about the evolution of fashion footwear?
Women want options. There’s this tension between beauty and comfort. I don’t believe they have to be mutually exclusive. I think with a few more prototypes and a little bit more attention to detail, love and care… beauty doesn’t have to be pain. You have to go the extra mile, but I think it’s worth it.
Congratulations on being the overall winner in Fashion Sneakers at the GFA Awards! How do you think this recognition will impact Sneex’s future?
Thank you… Thank you! We are so honored to receive this award. It confirms that Sneex resonate deeply with our audience and it has inspired us to continue innovating and creating products women love.
What does the future hold for Sneex? Are there any upcoming projects that you can tell us about?
New colorways will be launching in the spring, and brand new styles will be launching this Fall. I can’t wait!
Can you tell us about your background? How did you discover your interest in design, and what would you say is your personal design philosophy?
I work between disciplines, methods, and perspectives. My path has taken me from carpentry to industrial design and design ecologies, alongside studying analytic philosophy. Designing footwear is particularly appealing to me because it uniquely combines function, culture, and identity. As an ultra-trail runner, I also understand the precision that footwear demands. I may not come from a traditional shoemaking background, but I greatly respect the craftsmanship and heritage of this field.
My work is not just about solving specific problems or creating beautiful objects but also about challenging perspectives. Designing in this way, similar to language, aims to shape perception—both as a means of communication and as a framework for structuring the world. In that sense, doing philosophy can be designed as well.
Can you expand on the idea behind Rapid Autografting? What inspired you to explore biotechnology and human augmentation through footwear design?
The body is an unstable system. We inject it with caffeine, cut it open, and wrap it in materials that partition it from its environment. I wanted to push beyond performance footwear as we know it. Most of today’s footwear innovations are based on the same formula—lighter, stronger, mand ore cushioned.
But what if the next frontier is not external in that sense at all? What if the shoe is not a thing but a phase—something that grows, adapts, and dissolves when it has served its purpose? The idea behind Rapid Autografting is to redefine footwear not as an object but as something entangled with our ever-changing physiology.
Can you walk us through the materials and technologies used in Rapid Autografting?
I worked with biofabricated materials like collagen, keratin, and gelatin. The key technology is 4D bioprinting, which is used in biomedical engineering. The idea is that you temporarily transform your foot for a race, a marathon, or a ritual—and after that, your body reabsorbs it. No waste, nothing to discard. It is never thrown away—it ceases to be a shoe.
To approximate this vision, I combined material exploration, 3D scanning, digital modeling, iterative prototyping through 3D printing, and many hands-on experiments. I used stretchable meshes, collagen, latex layers, and a gelatin-based cushioning system.
What considerations did you prioritize when deciding the visual and aesthetic aspects of the design?
The aesthetics emerged from biological logic—soft tissue, connective structures, and the way skin heals. It should make you feel like it evolved naturally rather than deliberately designed. There is also an unsettling quality because it does not look like regular shoes. The ambiguity in the visuals is intentional. It is messy. It does not ask to be liked but to be questioned.
What was the design process of Rapid Autografting, from the initial concept to the final product? What research methods or design techniques were most critical in shaping the outcome?
The design process was an exploration in multiple directions rather than a rigid step-by-step progression. I started by analyzing the foot’s physiological responses during running— perspiration and heat regulation. I spent a lot of time researching and understanding.
My focus shifted to callus. Often dismissed as unsightly, it is a remarkable biological adaptation that strengthens resilience. From there, material testing took over. More biology lab than design studio. If something collapsed, I did not “fix” it. Failure was key.
As a student, how did your academic environment influence the project? Do you think being a student presents unique challenges or opportunities?
As a student, being underestimated can be an advantage—it allows for greater creative risk. Konstfack provided an environment where I could explore such ideas without the immediate pressure of commercial viability or brand alignment. That freedom allowed this project to evolve in a way that might not have been possible within conventional constraints.
The ability to step outside the structured frameworks of industry, even temporarily, can generate insights that become valuable later on. In this sense, students have a unique opportunity to design for possible worlds beyond here and now.
What were the biggest challenges you faced during the development of Rapid Autografting? How did you solve these, and what did you learn from the process?
The biggest challenge was designing for an undefined future. It is like designing a spaceship without knowing the physics of the universe it would fly in. One solution for me was learning to embrace uncertainty. This sounds simple in retrospect, but it was not. I have learned that control can sometimes be limiting and is not always beneficial.
Congratulations on your win at the Global Footwear Awards! What does this recognition mean for you and your future in the sustainable design industry?
Thank you! I am honored to receive this recognition from the GFA, especially in the sustainability category. It is a sign that my ideas resonate beyond the academic context. Designing should perhaps not only sustain but also challenge the notion of products as static things. This award indicates that the industry is listening and is open to new ways of designing and innovating responsibly. Now, we can start the real work.
Looking ahead, what areas of design or research are you most interested in exploring? Are there any upcoming projects or concepts that you can tell us about?
I am fascinated by the relationship between humans and technology. One focus will continue to be exploring how movement, materials, and human capabilities can be redesigned, particularly in sports. Emerging technologies are increasingly dissolving the boundaries between product and body. As this distinction fades, so too does the line between what we are and what we might become. Footwear is a unique interface for designing these shifts, and I will continue pushing forward—again, working between disciplines, methods, and perspectives.
Our conversation with Matea Gluscevic
Can you share the story behind your brand? How was it created, and what shaped its growth?
My brand is really just me, and the story is just that of my journey as a creative – it was created out of my own desire to create and design, and my life and opportunities have shaped its growth. The most notable things that have shaped the growth of my footwear work over the last 4 years are probably my participation in various fashion weeks in Australia, interest from the media, an apprenticeship with Master Shoemaker Eugenia Neave while I was in Adelaide, and the support I have received from those around me. I would also say that my drive to create functional wearable items has also been a big driver of my interest in footwear and the reason that I am doing what I am doing.
What is the vision behind In Her Boots, and how did the idea for the project come to be?
The vision came from the team at PXP Studios who were looking for a way to visually communicate progress in the AFLW as part of that “In Her Boots” campaign with AFLW and Johnnie Walker. Clearly, using boots from past players was a very literal and straightforward way to do this, and I think it was quite effective. I think they had heard about my work through one of their colleagues, and when they got in touch, I was more than happy to participate in such a thoughtful project.
The materials used in the collection were sourced from recycled shoes, what led you to this choice?
The team at PXP suggested I use the shoes from past players of the AFLW, as this would help visually communicate the narrative of progress in women’s sport which is what the In Her Shoes campaign was about and give the shoes real character and depth. This choice would also mean that we would have a much more visually interesting end product.
The collection has a striking visual design, why did you choose to create such a bold look?
A bold look was important in order for these shoes to stand out as part of the campaign. I combined elements of ballet flat shoes, football shoes, bag making and obvious hand stitching in order to create a shoe that was aesthetically familiar as a sports shoe but still unique and with a distinctly handmade feel.
Can you walk us through the design process, from the initial ideation to the final product?
Initial ideation was led by the team at PXP with the suggestion of working with boots from past players. The design process was relatively rushed as we didn’t have much time, and was happening mostly in the form of my experimentation with materials and troubleshooting.
As a loose description of how that played out – I wanted to create something that had elements of what I consider femininity without being overtly feminine and something that felt like it combined old and new processes. I introduced the idea of having a topline that somewhat resembled a ballet flat shoe but with lace-up tabs and a tongue. This was well received by the team. From there, we resolved the branding aspects: laser etched tagline in the veg tan sole and screen printed logos on the tongue tabs. Then there was a period of play – where I explored the materials (old shoes) and how I could use them differently in each pair. For example, on one pair, I zigzagged old laces together into a panel that was used as the upper on a heel. In another pair, molded plastic branding was cut up and applied to other panels to create a new, vaguely sports-looking logo. Then I researched football boot cleats, and we considered using either new gold cleats or making my own from leather. Ultimately we decided that to get the right aesthetic balance, I would use the metal cleats. So you can see how it wasn’t really something that was fully resolved and then made, it was more of a loose idea that took shape as we worked and played through the making process.
How does your approach to sustainability in In Her Boots differ from other designs that also emphasize recycled materials?
With this project the main difference is that we focused on using recycled materials specifically from the past players shoes rather than just any random existing materials. Additionally while the vegetable tanned leather soles aren’t recycled, they are still sustainable and are a relatively uncommon material to use in this type of application at this point in time.
Can you tell us about some of the challenges you faced during the creation of In Her Boots? How did you address these difficulties?
Getting all the old shoes from past players was a bit of a challenge in terms of being able to meet our deadline for the project. I addressed this by making sure to work on aspects of the boots, like preparing soling, etc, and leaving the upper sewing right until the end, which is the opposite of my usual process. Including the branding/tagline was a bit of a challenge as we wanted it to stand out and look good but still fit with the handmade aesthetic of the shoes and be doable in our short timeframe. This was addressed by doing a few materials and processes tests and settling on hand-cutting and painting veg tan soles and then getting them laser etched, something I thought was a really nice example of old and new technologies coming together.
What lessons or insights did the experience of creating In Her Boots bring to you personally?
I guess I became more aware of some of the history of women’s sports in Australia, which was definitely interesting. I also realized that I generally enjoy working with a team and leading the design and manufacturing process. The experience also provided valuable insights into how the advertising/marketing industry works as well as experience with other design professionals in a context I hadn’t worked in before.
Congratulations on winning the overall sustainability prize at the GFA Awards! How does this recognition align with your brand’s goals, and what impact do you believe it will have on your future?
I have been striving for more industry recognition so this award aligns perfectly with my goals. I believe that winning this award will provide my brand/work with more global visibility and more opportunities to work on unique design projects. It has also increased my confidence in my own work and encouraged me to keep creating.
Looking ahead, what are your priorities for the brand? Are there any upcoming projects or collaborations you’re particularly excited about?
Currently, I have started a new brand, Cakey Sportsman which includes garments and accessories as well as footwear. I will still be creating bespoke footwear under my Matea Gluscevic brand and working on various creative footwear projects that come up, however I will now also be expressing myself more freely in all forms through the Cakey Sportsman brand. There is nothing in particular planned for this year yet, but there’s usually always something interesting that comes up – I can’t wait to see what it will be this year!
Our conversation with Canberk Karakaş
Can you walk us through the origins of your brand? What moments or decisions shaped its course and led to where it is today?
The brand Retrouvailles originates from 2019’s COVID era, precisely the safety measures we had to take. I was mostly moved by having to distance myself from my friends physically and loved ones for an unknown timeframe. This fact, a fusion of other uncertainties and all the emotion it provoked made me find myself counting the days until it was over so that I could get back to my people, hence the name ‘Retrouvailles.’
During the pandemic, I collaborated with an up-and-coming street fashion brand. Was responsible for marketing deliverables like motion graphics, print designs, and concepts. I was being asked something I’d never done before, at least not in a professional setting, but I knew I really wanted to do it somehow. As I was wrapping the project up for delivery, I realized that I really enjoyed it. A lot. It didn’t feel like anything I’d done before. Out of that excitement, I started to work on my own personal projects.
Can you tell us about what was behind the inspiration that drove the creation of the Retrouvailles Trackstar? How did the concept evolve from the initial idea to the final design?
During the ideation of Trackstar, the main inspiration was always mixing and matching different kinds of styles, materials and tones. This motivation is also carried throughout the design as well. In terms of where the shoe stands, it’s a fashion-aware performance footwear. A kind of a shoe where you could go play tennis after a shopping session, without having to stop by your apartment to change your shoes.
I don’t have a background in Fashion, but I have a background in Graphic Design. And the first thing that Graphic Design absolutely dictates, is iteration. The concept, in a somewhat traditional manner, began with tons of hand-sketching. Even though each sketch went for a different silhouette and style, I was able to notice repetitions between all of them, and those repetitions were handpicked to be reconstructed together at the next stage, which was modeling.
Iterations followed in the modeling stage to see if they’d work in 3D space. The ones that didn’t were transformed into other details, like the material and finish used on the side R bands. Pretty much the same pipeline was followed while I was setting colorways. I knew I wanted something safe—the white one—something pretty—the Bordeaux one—and something I’d call an underdog—the sand-beige one with blood orange details.
The futuristic look of the sneakers seems to have been inspired by the digital nature of its conception, could you expand on this?
That is very true. Again, the mix-and-match technique here is playing a huge role that’s giving off that futuristic look and feel. As a digital-first designer, I love futurısm as a style, but not too much of it, or else I wouldn’t have anything other to mix in with it. Since it’s a shoe that was born from paper but lived on screens, beyond digital use cases or the fact that it just makes sense, I love how meaningful it is that a digitally-made sneaker has a subtle futuristic look with other notes blended in.
The Retrouvailles Trackstar was designed fully digitally without using materials during the conceptual phase, can you walk us through this process?
The finalized 2D sketch is brought into 3D space as guides and starting points. Each surface and panel, like the upper, the sole, and the toebox, is modeled using quads or rectangles. In traditional shoe-making, you would typically start by making a pattern, cutting, and then building on top of a last.
In 3D, it’s kind of reversed. As we’re building and modeling, we actually start from the ‘building on top of a last’ stage and that’s the nature of 3D. Once the shoe is finished in terms of shape and form, the binding edges or where the seams would be gets cut to build the patterns. So the first step of a traditional shoe-making approach, is the last step of the digital approach.
We need that last stage specifically to apply colourways, finishes and fabrics. Since the patterns are cut from a fabric in physical shoe-making, we place digital fabrics on the patterns we’ve created. Each fabric used gets scanned for digital use-cases, so that the rendering engine understands how we want the fabric to look like, and how we want it to interact with light.
Are there any particular materials or techniques you wanted to use but couldn’t? If so, why?
Even before the initial sketching, I actually wanted this shoe to be a very experimental take on material usages. I’d consider myself an architecture enthusiast and always found the way of architecture thinking, concepting and material usages fascinating.
As I was thinking about what materials caught my attention the most, I thought it’d be good to expose myself to the ideation first. There are great passages in Nathaniel Coleman’s 2020 release book, ‘Materials and Meaning in Architecture.’ It inspired me to use a rigid material.
That’s why I decided to use Chrome-coated rigid splines that follow around the shoe, following the R bands. It’s an engaging look that demands the attention of the viewer right away, but it also serves a purpose. The way they’re built is to give the consumer the possibility of adjusting the fit of the shoe around the main pressure points of the foot and ankle. Thanks to 3D, possibilities are pretty much limitless. There were no materials or techniques I couldn’t use.
Can you tell us about some of the challenges you faced during the design and development of the Trackstar? How did you solve these difficulties?
The biggest challenge was that even though I was designing and building in 3D space, I was still looking through a 2D surface—my screen. At certain points, it was hard to exactly understand the geometry of the shoe and where the lines were going.
The way I was able to solve this is a beautiful piece of software called ‘Gravity Sketch’. It allows you to build and view whatever your creation is, in true 3D space, as it’s a VR headset application. Gravity Sketch is already being widely used by all kinds of Designers, and it served a huge function for the development of Trackstar, helping me correct errors on the shape of the shoe or make changes.
Congratulations on winning the GFA Award for FASHION SNEAKERS! Has this recognition influenced your perspective on your work and your approach to future projects?
Thank you so much. It definitely made it clear to me that I shouldn’t rush creativity and quality assurance of design. Trackstar is a project that took around a month and a half from start to finish. This gave me the room and time to see if I still liked some ideas after a long period of time, to make changes, to iterate, and to explore. It was a great lesson that each specific design needs time to mature to its peak form.
What can we expect next from you? Are there any new projects you’ve been working on that you can tell us about?
I’m keeping up with my projects and diving into new grounds. My latest project, Trackstar RC1, the successor to the original Trackstar, is a full performance-driven shoe and currently wrapping up its marketing material. Once that’s done, I’ll see what time and creative hunger brings.
Our conversation with Mario Ramírez Guerrero
Can you tell us about your background? How did you discover your interest in design, and what experiences shaped your journey to where you are today?
From an early age, I have exhibited a profound interest in the accessories utilized in costume design for film, along with a broad appreciation for art, toys, fashion, the animal kingdom’s diversity, drawing, and storytelling. I find great excitement in the concept of designing by merging various shapes, textures, colors, and materials. Specifically, I am drawn to the practice of creating based upon a thematic framework, envisioning how to integrate these elements into a tangible object—one that individuals can wear, thereby making it an integral part of their identity and daily lives.
As an industrial designer, I have discovered that specializing in sneaker design provides me with a unique platform to engage in work that aligns with my passions. This role allows me to leverage my creativity to produce footwear that possesses aesthetic appeal and facilitates individuals in expressing their distinctive style, personality, and essence.
How would you define your personal design philosophy? Has it changed or evolved as you’ve gained more experience?
I perceive my design philosophy as a vast ocean where innovative solutions, ideas, and designs are unearthed from the depths of creativity. This creative abyss is enriched with a plethora of shapes, concepts, compositions, colors, and strategies. Accessing this wealth requires a commitment to fostering a reservoir of culture, knowledge, research, collaboration, resilience, dedication, and continuous learning.
Throughout my professional journey, I have increasingly recognized the critical importance of sustainability in design. As designers, it is our ethical obligation to consider the long-term impact of our work on the environment and to contribute to its preservation and care for future generations actively.
Can you tell us about the vision behind ATLAARS? How did it come to be, and did it suffer changes throughout the design process?
I sought to develop women’s sneakers with platform soles and an unconventional heel. My objective was to innovate in terms of shape and to design a distinctive type of sole, effectively conveying the underlying concept through the overall footwear design.
The appearance of ATLAARS is unconventional; how would you describe it? What is the inspiration behind it?
The design of ATLAARS draws inspiration from the fascinating realms of diving and deep-sea exploration, as well as the intricate anatomy of the human brain. These elements come together to create a unique design narrative that is visually striking.
ATLAARS reflects a similar pursuit of innovation and adaptation. The sneakers’ appearance can be described as that of a newly discovered marine species, embodying the beauty and wonder that can only be found in the unexplored depths of the ocean.
Additionally, with its intricate structure and myriad functions, the human brain is a metaphor for creativity and thought processes in design. The brain’s ability to generate ideas, make connections, and adapt to added information is mirrored in the way design evolves through exploration and experimentation. Just as divers navigate the complexities of the underwater world, designers delve into a sea of possibilities, drawing inspiration from the unknown to create something unique.
The ATLAARS sneakers stand as a testament to the power of exploration in nature and the creative process. They invite wearers to embrace their journeys, encouraging personal expression and a deeper connection to the world around them.
How did you select the materials for ATLAARS? Were there specific qualities you wanted to align with the design concept?
When selecting materials for the sneakers, my goal was to create a design that was both innovative and fashion-forward. I focused on lightweight, breathable fabrics for comfort and premium finishes to enhance the overall aesthetic.
I aimed for versatility, allowing the sneakers to transition from casual street style to polished looks for events like Fashion Week or red carpets. This adaptability ensures they meet the diverse needs of various occasions.
The design process was flexible; while I initially envisioned bold colors and textures, I later shifted to more understated, timeless elements. This evolution emphasizes the balance between personal expression and the demands of different fashion environments.
Can you walk us through the ATLAARS design process, from initial sketches to the final prototype?
The design process behind ATLAARS began with a clear design concept, where I focused on research related to shapes and materials. To ensure a cohesive direction, I compiled a mood board for visual inspiration. From there, I moved on to sketching initial designs, carefully evaluating each one against my established criteria to find the most promising options. This process was followed by creating digital prototypes, which led to the development of the final model and render.
Can you tell us about some challenges you faced while developing ATLAARS? How did you solve them?
In developing ATLAARS, I explored sole shapes that resonated with my design vision and inspirations, creating a platform that diverges from traditional standards while ensuring manufacturability. Although I considered a more audacious design with a higher platform, I prioritized usability as a fundamental element of the design.
Do you think being a student gave you any specific challenges or advantages when designing ATLAARS?
As a student with limited experience in the footwear industry, I faced challenges in designing with production and market feasibility in mind. However, I benefited from the creative freedom to explore my ideas without the constraints of corporate requirements, enabling me to realize my vision and achieve the desired outcome fully.
Congratulations on being the overall winner of Fashion Sneakers at the GFA Awards! What does this recognition mean for you, both personally and professionally?
I am incredibly grateful for this recognition, as it embodies my passion and love for what I do. This acknowledgment signifies personal and academic growth—an achievement in my journey as a student. It motivates and inspires me to pursue my passion with even more extraordinary dedication, reminding me that hard work and resilience can lead to rewarding opportunities.
What do you envision for your future? Are there specific areas within footwear or fashion design that you’re eager to explore?
I envision a future where I specialize in footwear design, focusing on innovation and sustainability. My goal is to create comfortable and functional designs that influence the evolution of fashion and footwear. I am excited about emerging materials, storytelling, and fashion and eager to explore their potential to drive creativity.
What inspired you to enter the footwear design industry? Was there a particular moment or influence that made you want to specialise in such an art form?
I’ve always enjoyed creating with a clear purpose, so pursuing design was a relatively straightforward path. My background is in industrial and graphic design, but over time, I found myself missing the hands-on aspect of making. When I first came across shoemaking, I was immediately captivated—it’s such a fascinating object with a rich history, yet something we interact with intimately every day. It felt like the perfect form of expression, so I decided to shift all my
attention there. It’s a wonderful blend of design and craft, bringing both creativity and tradition together.
How would you describe your approach to design, and has it changed over time?
My approach to design is largely narrative-driven, paired with a desire to experiment with form and technique. The narrative acts as the foundation, shaping the tone and direction of each project. From there, I draw on my background in industrial design and shoemaking techniques to create my
footwear. Over time, I’ve become more drawn to intimate, personal stories rather than grand, overarching themes. Whether capturing a joyful moment or a poignant one, the goal is to create something compelling and evocative.
Your winning design explores “disorienting transition” and the moment of disruption. Could you expand on this idea?
With this design, I aimed to express an unsettling moment of intense change and impact. The familiar base, which grounds the design, transitions into an abstract form that interrupts the look of traditional footwear. From there, the shape is devoid of conventional shoe-like features. This represents the new and obscure reality. To enhance the unconventional form and exaggerated volume, I chose a monochromatic colour palette, emphasizing the starkness of this transformation. Despite the avant-garde appearance of this shoe, an internal mule structure ensures the design is fully functional.
Your design is an avant-garde yet functional mule structure. How do you decide where to draw the line between art and functionality?
Art and design have many overlapping qualities, but an important distinction for me is that design provides answers, while art asks questions. Though I see myself as a designer first and foremost, I find that blurring these lines often leads to exciting new perspectives. My framework is simple: every piece must be wearable. From there, I allow myself a lot of artistic freedom to create visually impactful footwear.
Can you share what the Surreal represents to you personally and creatively? How does it fit within your wider body of work?
A lot of elements came together in this piece. I loved the design from the very beginning; it felt like the right way to express a complicated time without it feeling bleak or heavy. To me, it strikes a fine balance between intention, artistic abstraction, and an impactful silhouette.
Then there was the technical challenge of crafting the pair. This involved extensive experimentation and problem-solving, making the successful outcome all the more satisfying. In the end, the combination of these stages transformed this project into something very meaningful, and it feels like a defining piece in my body of work so far.
How has your background in industrial design influenced the way you think about and create footwear?
My background in industrial design informs many aspects of my creative process. It shapes how I view form and silhouette—not just of the shoe itself, but also how it impacts its wearer, sometimes distorting the body and challenging conventional notions of beauty. As all my footwear is handmade, I often employ crossover techniques that combine my industrial design experience with the traditional craft of shoemaking. This enables me to move away from ready-made solutions and to manipulate shapes in both the heel and the upper.
Are there specific materials, techniques, or technologies that you find yourself drawn to in your work?
Many of my designs feature deviations from traditional ready-made solutions. I’ve previously incorporated textile design and upcycling techniques, and more recently, I’ve been integrating moulding and casting methods into my work, particularly for custom-designed heels or last adjustments. For example, the Surreal shoe involved a two-part process: first, creating a custom mould for the spherical shape, then applying traditional shoemaking techniques, while ensuring all that volume remained secure and wearable.
Congratulations on winning the GFA Awards! How does it feel to be recognised, and what does it mean for your work moving forward?
The GFA has always been a platform I look to for what’s next in the footwear industry, and to be part of that story is truly exciting. I am incredibly honoured by both the recognition and support I have received from the GFA. It’s a wonderful feeling to have my work highlighted alongside so many other stunning and inspiring designs.
How do you see your work evolving, and what changes do you hope to see within the design landscape?
As new technologies emerge, much of our work will revolve around integrating innovation. It is my hope that we will strike a balance, choosing thoughtfully where to incorporate these advancements. I believe that art, much like music, is a profound expression of human emotion and hope that there will always be room for beautifully crafted, uniquely designed tactile pieces that carry a sense of human touch and individuality. So we will stay committed to preserving a long, rich history of craft while embracing the many wonderful new techniques that will shape the future of design.
Can you tell us a bit about your background? Why did you decide to follow design as a career?
From a young age, I found myself balancing a passion for both storytelling and sports. I’d push the limits of my school’s dress code with wild, colorful sneakers that I could still play soccer in during recess and write comic books for my classmates to keep them entertained. When I first attended the University of Wisconsin–Madison, my goal was to write and direct films, but I quickly realized I wanted something more active—an outlet that combined my love of creating inspiring stories with the joy of motivating others to feel empowered as they moved through life. Footwear design became the perfect medium for me. I was fascinated by tiny details—like how impossibly light Messi’s adizero boots were, the subtle textures on CR7’s Mercurials, or even the simple red slashes on Kobe’s Bruce Lee 5s—and how those elements told bigger stories. Especially in moments like Nike’s World Cup commercials, I can still remember how iconic footwear embodied the perfect blend of storytelling and innovation for my friends and me. That rediscovery of my passions set me on the path toward footwear design and ultimately led me to the University of Oregon to refine my craft and continue blending the worlds of creativity, sport, and storytelling.
What is your personal design philosophy? Did your work on elevé help refine it, or did it change it a bit?
My personal design philosophy involves inspiring individuals to own their stories. The phrase is an offshoot of one of my favorite ideas, “one who has a why can bear almost any how,” because they both recontextualize the obstacles we face in our lives not as setbacks but rather as opportunities to help us reflect and redefine our purpose. I think that by embracing the journey over the destination and by fueling that journey with proper prayer and contemplation, our lives and the people in them overflow with meaning and joy.
Further, by trusting in my own journey, I feel like I can better empathize with others and their journeys as well, and hopefully, when people view my work, they feel that sense of purpose in their own lives.
In this, elevé helped me refine this goal because it allowed me to listen to a story that I never thought I would get to hear. While initially unfamiliar with the struggles ballet dancers go through, I think that elevé allowed me to embrace my own ignorance not as something to be ashamed of but as an opportunity to learn and grow.
What inspired you to create such high-performance ballet shoes? Was it influenced by personal experience, or did the idea come from another perspective?
Elevé honestly came from having good friends in the ballet industry, and also entering into their world with a genuine curiosity. While it began as a simple three-week school project, it allowed me to recognize that many dancers felt underserved in terms of footwear innovation. My goal was to create something both inspiring and functional—shoes that addressed their unique needs, elevated their performance, and honored the artistry of ballet.
What makes the elevé different from other ballet shoes out there?
I think that what makes elevé different is not only the technical aspects of tension, beauty, and form that pays homage to its athletes but also the potential for ballet streetwear or athletic wear to take off in its subtle yet distinct style. I think what I love most about elevé is that it mimics its athletes, creating an inspiring balance of elegance and athleticism.
Can you tell us about your choice of materials? Why did you choose TPU for the toe and heel cages, and what benefits does this material bring?
In terms of materials, elevé embodies a modern take on a historical silhouette. By incorporating comfortable and high-performance elements into a form that has roots in medieval torture devices (I was shocked when I learned that!), it was a change that I felt empowered dancers who deserve to feel refined yet energized by their footwear.
Have you received any feedback from ballet dancers who have tested elevé? What insights or reactions did they share?
Yeah! Although I am not sure that my prototype is market-ready yet, the feedback behind elevé has been overwhelmingly positive. I think that because the design was informed by ballet dancers, elevé speaks for itself.
Working on elevé must have given you moments of discovery and struggle, can you share a particularly memorable one?
For me, the most difficult part of the journey was creating something that felt technically sound. Even still, I have a lot to learn about the biomechanics of ballet, and I hope elevé can embody the beauty of innovation even if it is still a work in progress.
Congratulations on your multiple wins at the GFA Awards! As a student designer, what advice would you give to others looking to make a mark in such a competitive field?
Wow, I totally feel like I am still a student in this world, but my advice would be to listen first and design second. Beginning with empathy not only grounds your work, but also unlocks a certain magic that only emerges when you’re willing to be curious. In my opinion, designers are not doctors; simply prescribing solutions, but rather collaborators who create solutions by continually being brave enough to embrace the unknown.
What are your aspirations for the future, both in terms of personal projects and how you see the footwear or performance design industry evolving?
In the future, my goal is for my work to help people embrace their own stories. Whether that be in big moments in the gym or on the stage, or in quieter ones at church or in the workplace, I believe that meaning comes from believing in ourselves enough to be vulnerable and connect with those around us. I see these values mirrored more and more in the footwear industry, especially in campaigns that spotlight niche athletes with powerful stories and in how manufacturing processes are gradually shifting toward meaningful quality over sheer quantity.
Can you tell us a bit about your background? How did you create the Agency, and what shaped your vision for the brand?
I actually had a somewhat traumatic childhood in the working-class suburbs of Seattle, in a state I didn’t realize was 95% white and named after a lionized enslaver. But it wasn’t all bad. I attended a surprisingly multi-cultural high school in a district that had great vocational programs where I studied graphic design and architecture for 4 hours a day, my entire senior year. That’s when the dream of playing pro soccer faded, and instead, I competed on the traveling graphic design team. After learning architecture was a saturated field, I attended a small state university 20 minutes from Canada to study industrial design, where I created a 3rd year independent study in footwear design. After that, my professor helped me get an internship at Converse in Boston, where I completed the blueprint for Dennis Rodman’s first signature shoe.
Simultaneously, I had a kid on the way, so I abandoned my education and got my first real job working for Michael Rubin in 1996 in King of Prussia, Pennsylvania. I designed Karl Malone’s Apex signature shoe at 21 years old when he was the league MVP, then went to work under 4 powerhouse women from Nike and Adidas as they rebuilt Rykä at a satellite office in Portland, OR. Next was New Balance back in Boston and Diesel in Santa Barbara, where I excelled creatively but felt demotivated by the predatory nature of business. So, at the end of 2005, I chose to work with a friend and former lead designer at NB in Milwaukee, WI, to help transition a heritage dress shoe company from a reactive business model to a proactive one where design could lead the way. That’s where I learned just how difficult culture change can be while also inadvertently undermining my career path with the big brands.
During my career, I consistently volunteered in underserved communities as well, which is where I saw the massive disparity in resources America allocates to various regions. Such as when I mentored foster youth in Los Angeles to help them improve in reading and mathematics while I worked for a company whose main client was Target.
The vision for AGENCY comes from my personal experience working to end a cycle of generational trauma, combined with my professional answer to the question: “How can a brand justify selling $200 sneakers to foster kids on welfare?” Apparently, for some companies, the answer is to help them become better ball players, but for me, the answer is only if the company uses every resource available to create a better future for all children. That’s why it says “for the kids” on the right footbed of every shoe under a drawing of my daughter when she was 3.
I created AGENCY by first-hand drawing iconography in support of the design ethos, “Inspired by and Designed for Everyone Helping the World: Embrace Equality, Heal the Planet, and Change the System to Fix the Future.” One of the biggest challenges has been turning “a better future for all children” into an immediately understandable brand identity. It required a lot of research on the history of social change, and reading Frantz Fanon is where I connected with the legacy of those who came before me through his use of the word “agency.” After that, it was a matter of learning the patent and trademark system, along with business documentation.
What would you say is your personal design philosophy? Has this philosophy influenced Agency Footwear’s approach to creating products with a deeper purpose, like the Guardian sneaker?
As someone who tried to innovate at every design review only to be shot down hundreds of times by sensible businesspeople, I developed a philosophy of “unique but familiar” that’s allowed me to design creative products with the potential to sell in volume. It also helped me shape the AGENCY Guardian into a wearable silhouette with unique features, such as the dynamic Mid-Foot Strap that I’m trying to patent.
The deeper purpose of the shoes comes from who they’re designed for and the understanding that social change is typically sparked when marginalized people are forced to become activists. That inspired me to treat them as the heroes of the product story.
Could you share the story behind the creation of the Guardian sneaker and why you decided to use materials like plant-based foam, vegan leather, and recycled textiles?
The story of the Guardian is one of providing a worthwhile option for activists. I wanted it to perform when it was needed most, while also being super comfortable when walking for hours on end, kind of like an SUV. That informed pretty much everything about the shoe. The last has a wide toe box to allow the forefoot to naturally splay for all-day comfort. The two straps secure the shoe around the foot while also creating a purposeful aesthetic. The knit provides comfort in the flex zone and increased breathability when things get heated. The dual-density Triple Threat Midsole provides supportive comfort and dynamic stability. With a cushioned core, internally sculpted perimeter, and rocker profile, this platform also has a very smooth ride. Furthermore, it was important to inspire confidence wherever an activist may find themselves, so I designed the grooved lugs around the perimeter of the outsole to grip everything from hard court to dirt trail and made sure the central lugs were tall enough to be useful on grass. I also want AGENCY Footwear to fit into the current wardrobe of people on the front lines, so I made sure the silhouette of the shoe had a nostalgic vibe. Finally, I wanted the shoe to have a unique visual identifier that spoke to its functionality, which is why the pinstripe on the sidewall frames the flex grooves.
The material choices came from my understanding that climate change is an existential threat to humanity. Meaning the Guardian had to be as sustainable as possible while not presenting as a compromised product, due to its environmental aspirations, for me to feel like I was doing my part. Together with my development partner Ken Shao of Kalchemy Sourcing, we found as many certified and traceable plant-based materials as we could that met our performance metrics. Landing on 100% recycled textiles for the remainder and partnering with a fair trade factory that follows the strictest chemical handling and animal welfare policies to make the shoes.
The insole material is interesting as well, not because it’s an open cell foam, but because when I showed my shoes to Zahonero at the New England materials show, Daniel Zahonero felt the brand message aligned with his philosophy of sparking industry wide change so much that they became a very helpful supply chain partner.
What prompted the Agency to shift toward a mission-driven focus, and how did it shape both your products and your perspective on the role of design in our world?
AGENCY has been mission-driven since I signed the foundation documents in 2023. A major motorcycle crash in 2016 prompted me to question my worth as a human, not because of the many injuries, but because it made me allergic to cognitive dissonance. I felt like I was just creating a landfill by designing more shoes. This eventually caused a serious bout of depression because I felt my identity as a designer was exacerbating society’s problems. That lasted until I ‘cracked the code’ in 2019 with respect to how to be authentically anti-consumption within a consumer economy. I rationalized that in order to make a living designing products, they would have to engage mainstream culture with a message encouraging collective sustainability and systemic change.
It took additional research to understand the historical role design and capitalism have played in the social disparities and climate change affecting our world. In conclusion, design is almost exclusively a tool of industry, where creatives are employed to create emotional bonds between real people and soulless corporations. Also, knowing that our creative skillsets allow product companies to continuously exploit Earth’s finite resources through the popularity of their brands really got to me. So, I chose to flip the script and design for those opposing the system.
What inspired you to partner up with The Gathering for Justice, and what made them the perfect fit for this project?
I took some of my early prototypes to the United Justice Coalition Summit in Manhattan, put them on a side table, and asked people’s opinions of them. As well as they were received, the question of how they supported social justice wasn’t easy to explain without breaking down the premise of my business model. Realizing that I wouldn’t always be there to explain my shoes, I wanted an immediate and direct way to prove I wasn’t just marketing altruism but coming through on the promise. I noticed Carmen Perez-Jordan played an important role in organizing the summit both years that it happened, so I looked her up and sent a cold email to The Gathering for Justice, where she’s the CEO. She happened to respond, and from there, we met at their 1199 SEIU office, where I was further impressed by her 20-year legacy of organizing and the coalition-building Harry Belafonte instilled in The Gathering when he founded it in 2005. Having previously walked 250 miles from NYC to Washington DC, Carmen was intimately familiar with the need for quality footwear with uncompromising values within the activist space and the Guardian Storm really caught her eye.
All proceeds from the Guardian sneaker go toward supporting The Gathering for Justice’s work. How will these be used to address systemic issues?
Sending proceeds to The Gathering will help them continue with their educational programs and multi-lateral coalition building, utilizing Kingian nonviolence pioneered in MLK’s civil rights movement with the help of Harry Belafonte. The Gathering is also focused on ending childhood incarceration, which plays a major role in the school-to-prison pipeline, in an immediate and direct way. Each effort and action plays a role in exposing more people to the injustices in our system, inspiring more individuals to become activists every day. Carmen is also uniquely capable of organizing highly successful national protest movements as the need arises, such as when she co-chaired the Woman’s March with Tamika Mallory, Linda Sarsour, and Bob Bland.
What message do you hope this partnership sends to both the design industry and consumers about the role of brands in supporting social justice?
For the people, my hope is to let them know there’s a brand out here fighting for them. For designers, my hope is to provide them with an example of how to use their skills for the greater good. For the industry, my hope is to show that it’s financially sustainable to be in the business of altruism. For society, my hope is to help create a unified voice in the collective movement to change the system. Business as usual has enabled a modern global oligopoly to force society down a path of diminishing returns, but if enough people [I believe 16-20% of the population] shift their top priority from individual profit to collective well-being, studies show that culture change is possible. I believe we’re closer to that point than we realize; we just don’t have a single global banner to stand behind, which is what I designed AGENCY to be.
Congratulations on winning the Global Footwear Awards’ Brand of the Year! How does it feel to receive this recognition, and what does it mean for you and your team?
Thank you! Honestly, I was shocked. I thought the Guardian had a chance to win the Social Impact award because I don’t know of any other brands in that space, but to win 4 awards, including the competition’s top honor of Brand of the Year, is a real honor, especially against 250 entries from billion-dollar brand teams, super creative college students, and classically trained craftspeople. It’s crazy to me because my shoes aren’t wild, but they are well-made, so I feel like the judges really wanted to highlight how it’s possible for thoughtful design to provide a practical solution to a complex problem. I also feel like they wanted to point out that now is the time to stop theorizing and start taking every stakeholder seriously.
I’m really thankful for the opportunity to speak about AGENCY Footwear in a longer form as well, because designers don’t always get the chance to explain how much they care about working to create a better world.
Can you tell us about the future of AGENCY Footwear? How do you see the brand evolving, and what role do you hope it will play in inspiring the design community?
The immediate future of AGENCY Footwear is to partner with a like-minded philanthropist or impact investor who’s excited to popularize the need for systemic change in an engaging and non-confrontational way. That, along with improved distribution and sales, will enable AGENCY to scale into the exemplary creative organization and lifestyle brand that I envision. The intention is for everyone at AGENCY to be able to bring their whole self to work and connect personal stories of activism with purposeful product launches. Together, there would be no greater accomplishment than the design community playing a role in popularizing the necessary change activists have been pleading to see for centuries. It’s exciting to think that during such a pivotal time in history, design might help us finally come together as a species to fix the future.
The Global Footwear Awards (GFA) proudly announces the initiation of submissions for its highly anticipated sixth edition, marking a significant milestone in the world of footwear design. This year promises to exceed all expectations, providing a prestigious platform for footwear designers worldwide to showcase their exceptional talent and ingenuity. With submissions welcomed from across the globe, designers are invited to compete for recognition as industry leaders. Over the past five editions, the GFA has received hundreds of submissions from designers in more than 50 countries, with winners achieving remarkable success, including features in major publications and partnerships with leading brands.
Last year’s prestigious title of Footwear Brand of the Year 2024 was awarded to Guardian Storm by AGENCY Footwear LLC, led by designer Mathew Drazic. This sneaker exemplifies a commitment to sustainability, using plant-based materials such as D-LITE foam, D-VINE rubber, and recycled textiles. Designed for activists in partnership with the not-for-profit The Gathering for Justice organization, it features a patent-pending mid-foot strap and a triple-threat midsole for stability and performance. In the independent category, Surreal by Deborah Kiwi earned the title of Independent Footwear Designer of the Year 2024. Deborah Kiwi, a Dutch designer, crafted a shoe that reimagines artistic footwear. Her design explores the theme of transition, merging abstract forms with functional mule structures. Emerging talent was also celebrated, with elevé, a ballet training shoe designed by University of Oregon student John Helf, taking the title of Emerging Footwear Designer of the Year 2024.
Other winners of the 2024 Global Footwear Awards include Sneex, which took home multiple accolades in the Women’s Fashion category with The Blake, The Tepper, and The Icon. Spanish luxury brand Bold Statement S.L. also won in various categories, such as The Mixers in Women’s Fashion and The Muse in High Heels. Lamborghini Performance Footwear (MOSSAWI STUDIOS) won in Men’s Fashion, while Maki Izawa Design Studio took home the award for Sandals with Para Waraji Sandals. In addition, Adidas Ccs Originals Team won several awards, including for their collaborations, such as Adidas x Feifei Ruan – Year of the Dragon Country OG. Notable winners in the Sports Performance categories included Under Armour, Inc. with their FUTR X ELITE in Basketball/Football/Rugby and Nike for their Nike Free 5.0 2021 in Recycled Materials under Sustainability.
“We are absolutely thrilled to be celebrating the launch of the sixth edition of the Global Footwear Awards, especially after the incredible success of our fifth anniversary! It’s amazing to see how far we’ve come, and we are beyond excited to continue this journey with such exceptional partners by our side. Our commitment to supporting young talent remains at the heart of everything we do, and we’re proud to provide a platform that nurtures innovation, creativity, and the future of footwear design,” said Astrid Hebert, co-founder of 3C Awards, the organization under which GFA operates.
The GFA has announced an enhanced offering for emerging winners in this year’s edition. Renowned sneaker industry figure Sean Williams, with over 37 years of experience, will provide an exclusive masterclass to the Emerging Winner. As co-founder of the SOLEcial Studies sneaker industry education program and a trusted consultant to brands worldwide, Williams brings unparalleled expertise to this initiative, offering invaluable guidance to emerging designers looking to elevate their careers. As part of the Global Footwear Awards benefits and its valuable partnerships, the Independent Designer of the Year will receive a comprehensive mentorship program from INDIPROC, valued at €1,495. Additionally, the Emerging Footwear Designer of the Year will gain access to a one-hour consultancy session with the INDIPROC team, offering guidance on advancing their careers in the footwear industry, along with a 50% discount on their online education programs.
This year’s grand jury includes experts in fashion, design, media, and art, ensuring that the winning designs represent the very best in footwear design. Their collective expertise will rate and reward project entries across various footwear design categories. The current jury panel includes prominent names such as Havva Mustafa, Founder and Designer at HAVVA and Footwear Design Lecturer; Luis Valenzuela, Founder, Director, and Chief Curator of the MIAMI Shoe Museum; Felipe Fiallo, Founder and Creative Director at Felipe Fiallo S.R.L.S; Caroline de Baere, Footwear Industry Expert and Adjunct Professor at Laforma; Robbie Fuller, Creative Director at Anta Group; Sissi Johnson, President of the Berlin Fashion Film Festival; Sean Williams, Co-Founder of OSD and SOLEcial Studies; Jazerai Allen-Lord, Founder of True to Size; Ann Williams, Co-Founder and Footwear Design Director at Schwilliamz Creative Consultants; Mary Norton, Luxury Accessories Design Director at Savannah College of Art; and Oronzo De Matteis, CEO, Founder, and Creative Director at OROORO Brand Luxury.
To enter a project, applicants can complete the process online in four simple steps. Designs can originate from anywhere in the world, be completed within the last five years, and may be a product in-store, a project in development, or conceptual. For more information on submission guidelines, categories, and benefits, please visit globalfootwearawards.com.