The Evolution of Lacoste

Lacoste was born from a game and from René Lacoste’s obsession with performance, even in the smallest details. The piqué polo and its iconic crocodile are the most recognized symbols of his legacy, but the same philosophy has been applied to footwear, developed over more than six decades.

Since 1958 with The René, through The Ardeur in 1985 and The Indiana in 1989, Lacoste has combined classic design with sophisticated technology in its footwear. The LT collection, including models LT 120, 121, 124, and 125, continues this tradition, offering anti-slip soles, strategic ventilation systems, and high-performance polyurethane midsoles. Every detail is designed to provide exceptional comfort for both professional and amateur tennis players, while maintaining the elegance and tennis heritage that define the Maison.

Lacoste Slam Break Premium

The Slam Break Premium continues this tradition, blending styles and settings. Built on a premium leather base, the sneaker features details inspired by historical models and the clay courts where so many tennis legends were made. Yellow accents reference modern tennis balls, while the suede heel counter and metallic crocodile enrich the brand’s narrative. ADS Foam ensures superior comfort, letting performance be felt with every step.

To present this silhouette, Lacoste teamed up with Arthur Fils, one of the young sensations in world tennis, who shares the brand’s vision of combining style, precision, and performance. His presence reinforces the connection between the sporting legacy and the urban aesthetic of the sneaker.

With the Slam Break Premium, Lacoste achieves the perfect balance between past and present: every detail reflects its sporting history while bringing freshness and style to the city. A sneaker designed for those who want a design that preserves the spirit of tennis but moves effortlessly through urban life.

An immersive experience inspired by Puerto Rico

With Bad Bunny’s arrival in Madrid, the city was filled with Caribbean energy. At FOOTDISTRICT Madrid, we brought that vibe into the store, turning it into another stop on the DTmF Tour: a pop-up dedicated to the adidas Originals x Bad Bunny Merch Tour collection. The experience begins in an airport, continues through the streets of San Juan with a spectacular flamboyán tree, a symbol of Puerto Rico, includes a juice bar and a space to watch life pass by while playing dominoes, and culminates in the most intimate area: a Caribbean home, conceived as the final stop of a journey that began as a trip.

Every detail is designed so visitors can explore the adidas x Bad Bunny Merch Tour collection in an environment that reflects Bad Bunny’s history and creativity.

Opening and Shared Energy

To launch the experience, we invited friends of FOOTDISTRICT on a personalized tour with drinks, music and dancing. The energy of the moment filled the store and accompanied the spirit of the tour throughout its duration.

Dates and Hours

The adidas x Bad Bunny Merch Tour pop-up store will be open in Madrid from May 29 to June 15, 2026.

• Monday – Saturday: 10:30 – 21:00
• Sunday: 11:00 – 18:00

Address: C/ de Valverde 35, Madrid

With the arrival of the DTmF Tour in Europe, FOOTDISTRICT Madrid becomes a new space dedicated to the adidas x Bad Bunny Merch Tour, a meeting point between music, identity, and physical experience.

Madrid as a Meeting Point for Bad Bunny, adidas, and FOOTDISTRICT

In recent years, Madrid has become the center of Latin culture in Europe, a city open to music, and Bad Bunny knows this well: 10 concerts sold out almost instantly.

To celebrate Bad Bunny’s visit, FOOTDISTRICT transforms its Madrid store into the stage of an immersive experience built around the adidas x Bad Bunny Merch Tour, turning every corner into part of a journey from Puerto Rico to the world.

A Journey Inspired by Puerto Rico

The experience unfolds like a journey. The first space recreates an airport terminal, serving both as a starting point and as a symbol of arrival. Visitors are greeted by the red blooms of the flamboyán, the tree that has become a symbol of Puerto Rico and inspired the new edition of the adidas x Bad Bunny Ballerina “Flamboyan.”

The journey continues along a street inspired by Puerto Rico, built from everyday references and neighborhood codes reminiscent of Old San Juan—the colors, the cobblestones, and the chinchorros, small bars where you can stop for a drink and play a game of dominoes.

After passing through the airport and the streets, the tour ends in a more intimate setting: a Puerto Rican home, designed as the emotional conclusion of the story.

Every element is designed so visitors can explore the collection in an environment connected to its story, understanding the project as a physical extension of the creative universe Bad Bunny built around the DTmF Tour.

Dates and Opening Hours

The adidas x Bad Bunny Merch Tour pop-up store will be open to the public in Madrid from May 29 to June 15, 2026.

Monday – Saturday: 10:30 – 21:00
Sunday: 11:00 – 18:00
Address: C/ de Valverde 35, Madrid

Jordan Room Transformed into an Urban Stage

Our Jordan Room in Madrid, dedicated to the history and legacy of Jordan, was filled with music, drinks, and snacks that transported us to New York. But the real highlight was the custom Claw Arcade, inspired by classic fair machines, where attendees, with a bit of skill, could win prizes such as stickers, discount codes, a BMX helmet, and a BMX customized in the colors of the Air Jordan 4 “Brick After Brick”.

The great atmosphere, shared excitement, and interaction with the game turned the launch into a true meeting point, where each participant could test their skills, enjoy themselves, and connect with other sneaker fans. Each purchase included a personalized tote bag and a ticket to play, making each pair of sneakers also a gateway to fun and surprises.

Prizes and Exclusivity

The grand prize, the custom BMX and helmet, along with other gifts and discounts, reinforced the launch’s spirit as more than a purchase: a complete experience, full of history, culture, community, and shared moments.

Thank you to everyone who participated!

DTmF Hits Europe

Bad Bunny’s DTmF Tour started in Puerto Rico as a celebration of his bond with the island and the cultural universe built around DeBÍ TiRAR MáS FOToS. After kicking off at home, the tour now arrives in Europe with stops in Paris, London, Lisbon, Warsaw, Stockholm, Madrid, and Barcelona. Madrid hosts the largest number of European dates, strengthening the connection between Bad Bunny and his Spanish audience.

The adidas x Bad Bunny Tour Merch collection was born from this idea: to make every tour stop an extension of Benito’s creative universe.

A Partnership Built with FOOTDISTRICT

Over the past years, FOOTDISTRICT has been part of key moments in the Bad Bunny x adidas universe. Through dedicated editorials and special activations, the relationship has grown around a shared vision of contemporary culture, music, and product.

One standout moment was transforming FOOTDISTRICT Madrid into a musical embassy of San Juan, bringing visual, auditory, and cultural references from Bad Bunny’s creative world into the space. This connection continues with the arrival of DTmF Tour Merch.

adidas x Bad Bunny Tour Merch: A Collection Inspired by the Journey

The collection combines T-shirts, sportswear, and reimagined adidas Originals classics like the Firebird jacket. Each piece includes graphics inspired by different European tour cities while maintaining a constant connection to adidas’ archival heritage.

Contemporary construction meets Puerto Rican culture in a bold palette of red, yellow, black, and white, creating a visual language that reflects the tour’s aesthetics.

The adidas x Bad Bunny Tour Merch collection is now available at FOOTDISTRICT.

Yohji Yamamoto: origins and rupture

Yohji Yamamoto’s life seems marked from the very beginning. Born in 1943, in the midst of World War II, he lost his father at a very young age. He grew up with his mother, a seamstress who supported the household through long working hours. From her, he inherited a connection to craft, but also the expectation of a different future.

Originally trained as a lawyer, he soon realized that this was not his path. After studying at Bunka Fukusō Gakuin, he began working in the family workshop, dressing women who sought to replicate European style. However, this imitation never felt natural to him.

From Tokyo to Paris: building a language

His journey to Europe marked a turning point. London brought him closer to the punk universe, while Paris became the place where he developed his vision. London was his first contact with European fashion. Malcolm McLaren and Vivienne Westwood recall Yohji (and his partner at the time, Comme des Garçons founder Rei Kawakubo) as regular customers of Sex, the store that, under different names, defined and accompanied the evolution of punk.

In 1981, he presented his first collection in Paris: a radical break from traditional luxury. He embraced imperfection, deconstruction and a palette dominated by black, white and beige. Against excess, Yamamoto proposed silence. A departure from perfect forms, where error became language.

The outsider and his followers

His work was not immediately understood. In a context dominated by shine and ostentation, his proposal felt uncomfortable. However, a community emerged that found in his work a form of identity.

His followers, dismissively called “Crows” for their preference for black, adopted his vision as a form of opposition to conventional fashion. Yamamoto was proposing a stance on life, more than just design.

Yamamoto himself was influenced by the architectural concepts of Balenciaga, a designer who might seem opposed to his work. In turn, Yamamoto’s proposals influenced designers such as Rick Owens, Boris Bidjan Saberi and Ann Demeulemeester, while his universe expanded through collaborations in film (Takeshi Kitano, Wim Wenders), music (Ryuichi Sakamoto) and design (Nick Knight, Peter Saville).

From the runway to the street: the birth of Y-3

During the 1980s and 1990s, Yamamoto’s influence stood at the center of a relationship between Paris and Tokyo that marked the beginning of a new way of understanding trends. This vision shifted again in 2002.

Yamamoto felt that his creations were not entirely real, as he did not see them on the streets. What he did see were sneakers and sportswear. At 59, Yohji Yamamoto began a new chapter alongside adidas, which led to the creation of Y-3, a line that anticipated the fusion of fashion and sport.

Tension as a creative force

Discomfort, an outsider position and a rejection of the established form the core of Yohji Yamamoto’s work. This constant tension has defined his career and turned his work into a reference for generations.

In his universe, fashion does not seek pleasant acceptance or forced smiles. It seeks to question, to unsettle, and to move beyond expected patterns.

The origin of the Nike Pegasus

The birth of the Nike Pegasus tells a story deeply connected to runners and somewhat removed from the logic of major launches. The idea for the Pegasus emerged in 1982, when Nike was already familiar with the progress being made in Air technology. The first shoes with Air units had been the Tailwind in 1978, and from that moment on, Nike had been trying to create the model with as much Air as possible, an evolution that, in one way or another, would eventually lead to Air Max years later.

In 1982, running shoes were often technological showcases with high price points, a competition between brands to offer something never seen before. Yet few were truly looking at the consumer, at the everyday runner. That is exactly what Nike did. Using the Nike Internationalist as a starting point, the brand set out to include Air only where it was truly needed, in the area of greatest impact: the heel. To achieve this, they developed a new Air unit called the Air Wedge, which allowed for a more controlled and scalable use of Air, maintaining cushioning and durability without the fit issues, or the cost, of a full-length Air unit.

It was also a response to the needs of more experienced runners, who were looking for a shoe with a comfortable feel that could be used across different situations. For the outsole, Nike created a new tread pattern inspired by its classic Waffle soles, while modifying the lugs to better adapt to asphalt and dirt paths.

The design process involved some of Nike’s most celebrated names, including Bruce Kilgore (Air Force 1, Nike Sock Racer, Air Jordan 2) and Mark Parker, who would become Nike’s CEO 35 years later.

Although it was not a complete novelty, separate versions were developed for men and women, with different lasts, weights and colorways, with the aim of reaching a broader range of athletes.

The first impact of the Nike Pegasus

Shortly before the 1982 New York Marathon, the Nike Pegasus first arrived in stores in a rather understated color combination: grey and blue for men, off-white and burgundy for women. That was part of its appeal. It was a model with everything essential, one that did not necessarily stand out within Nike’s catalog at the time, but one that was the direct result of the brand’s dialogue with runners.

Because of this apparent simplicity, Nike found itself having to explain what the Pegasus actually contained. To do so, it included a booklet detailing the properties of the Air Wedge, Tomilite foam (a type of EVA), and the variable lacing system, which allowed for a more precise fit.

Alberto Salazar’s success at the New York Marathon, although achieved in a pair of Nike Mariah, a model better suited to his pace, gave Nike greater visibility as it worked to bring the Pegasus to more stores and more runners. Another iconic marathon runner, Joan Benoit, chose the Pegasus as her everyday training shoe.

In its first six months on the market, the Pegasus sold 300,000 pairs, an immediate success that accounted for nearly one tenth of Nike’s annual revenue.

The evolution of Pegasus

In 1985, Nike began thinking about a possible evolution of the Pegasus, always tied to one central idea: a simple design that works for most runners in most situations. That thinking led to the next chapter, which reached stores in 1987, and from there the line continued to evolve.

The models released in 1982, 1987 and 1989 became running legends, and over time they gained iconic status. Some versions from the 2000s have even been successfully reissued in fashion contexts. The Pegasus line expanded with ACG models, Trail, Racer, T/C (Training and Competition), and in recent years, Plus and Premium editions.

The franchise even went through a brief pause in the late 1990s, after several experiments with visible Air units moved it away from its original idea.

Nike Pegasus 42

The launch of the new Nike Pegasus 42 remains faithful to its original purpose: a simple, easy shoe for everyone, improved with each new version. This time it features a full-length curved Air Zoom unit, designed for maximum responsiveness and said to deliver 15% more energy return than the Pegasus 41. It also includes ReactX and a new structure that allows for 3 mm more foam without altering the height of the midsole.

Together with Vomero and Structure, Pegasus forms the basis of Nike’s new simplified running range, which means we can expect different versions of it in the future.

The origin of Satisfy

Satisfy was founded in 2015 by Brice Partouche, a French entrepreneur with a background in fashion and a strong connection to skate culture, punk, and alternative music. Partouche grew up in the French Alps, an environment that introduced him to board sports such as snowboarding and later skateboarding, disciplines that helped shape his aesthetic vision and his understanding of movement.

Before Satisfy, Partouche launched April77, a denim brand with a strong rock influence. That heritage is still present in the way Satisfy builds its narrative: it was never intended to be a conventional sports brand, but rather a label with a distinct voice, its own universe, and a more cultural interpretation of running.

Counterculture, punk, and attitude

One of the keys to understanding Satisfy lies in its relationship with punk. The brand draws from that world a sense of rebellion, independence, and rejection of the norm. Instead of pursuing the clean and predictable aesthetic of traditional sportswear, it embraces a rawer, freer, and more character-driven vision, closer to skate, rock, and the underground.

This cultural influence is also reflected in its collaborations and capsule collections. A clear example is “Run! Punk Run!”, inspired by Joe Strummer, lead singer of The Clash, and images of his participation in the London Marathon. These references position Satisfy at a very specific intersection of running, music, and alternative culture. This narrative is further reinforced through its own magazine, Possessed, and its curated Spotify playlists.

Technology and design

Within a catalogue defined by its distinctive style, Satisfy also introduces technologies developed specifically for the brand, often maintaining its unique visual identity. One example is MothTech, a perforation system applied to heavily washed cotton garments, designed to follow the body’s sweat patterns while creating a recognizable aesthetic.

TheRocker represents one of the brand’s most technical steps forward. It is Satisfy’s first trail shoe, designed to move across different terrains while offering a smooth, comfortable, and highly responsive ride.

The shoe incorporates three key elements: the Euforia™ midsole, engineered for a more dynamic and fluid stride; the outsole featuring TuneLug™ technology combined with Vibram Megagrip for enhanced traction and stability; and the Rippy™ 66 Monomesh upper, designed to deliver durability, breathability, and protection with minimal weight, already used across other garments and accessories. TheRocker clearly reflects Satisfy’s philosophy of creating technical products without compromising a strong design identity.

Why it matters in fashion and sport

Satisfy’s impact goes beyond performance. The brand has helped normalize a now widely accepted idea: that running can also be a form of visual culture, identity, and brand desire. Its language resonates with consumers who value both function and narrative, making it an international reference within the running space.

Pablo Alzaga is a photographer who understands sport from every angle, an observer of both the game and the architecture surrounding football, an intuitive trend researcher, and the founder of Matinal, a studio that reveals how football exists across multiple cultural fields.

Matinal should be a football team, but it is something more. Much more. Matinal FC emerges from football, but what sets it apart is everything that happens before and after the game, the universe it builds around it. A world often perceived as separate from football, or at least from the way we used to understand it.

Pablo Alzaga arrives from Los Angeles after experiencing everything adidas is preparing for this football-driven summer. It becomes the perfect moment to speak with him about his personal projects, Matinal, and, of course, what he discovered at adidas in Los Angeles.

Matinal exists somewhere between football, design, and music. How did Matinal FC begin?

Matinal, as it exists today, a creative studio focused on the intersection of football, fashion, and culture, was established at the end of 2022. But before structuring it as an agency, we had already been exploring the idea of decontextualizing traditional football formats. In 2018, together with my partner Nacho Asensio, I founded a creative collective around our lifelong team, CCP (Club Ciudad de los Periodistas). We designed jerseys with adidas and LATIGO, a brand I was working with at the time, where we had already experimented with projects combining these three disciplines, from Dellafuente FC to our split Barça–Madrid jersey. We organized informal matches for creatives and began engaging in cultural conversations with clubs and professional players. Matinal responds to the need to connect what happens on and off the pitch and to facilitate dialogue between both worlds.

You start from global, mass-consumption worlds, yet by combining them you create something closer to the countercultural. Do you feel you are going against the current?

Yes. Historically, football has overly romanticized the idea of “shut up and dribble.” Players have been taught to leave their interests and passions aside and focus solely on performance. Think about what happens when a striker shares an artistic interest online but hasn’t scored in three months, or when a club activates a cultural project while flirting with relegation. We’ve always believed that a certain separation between culture and performance is beneficial for the industry, and it seems this idea is finally gaining traction in some areas of the football ecosystem.

What is the common thread across the content you create — from clothing to music or events?

We are inspired by redefining what it means to be a fan: how people access football through their own passion points, which may be far removed from playing the sport itself, such as design, fashion, art, music, photography, or architecture. In 2026, you don’t need to have stepped into a stadium to be interested in football. This is what we call post-football, the space that exists beyond victory and results.

One thing that sets Matinal FC apart is that you’re real “Sunday league players.” But creatively, there’s also a side of Matinal without a direct connection to football. How do those two sides interact?

Our processes and brand identity also reflect different ways of “being a fan.” Matinal’s origins lie in a Sunday league team where several players work in creative fields. In my case, working in fashion photography, admitting in certain circles that you liked football could be perceived as a red flag — being “that kind of guy.” At the same time, it was quite common to discover creative profiles who also played or consumed football but didn’t have a space to celebrate it with like-minded people.

As for the side without a direct connection, we have a very illustrative example. Sandra Ramiro — our first creative director and the designer of Matinal’s identity — wasn’t particularly interested in football at the time. All her references came from other fields, and that’s evident in many of our designs and even in the logo: it doesn’t resemble any traditional football crest. Any other designer influenced by football aesthetics would have likely arrived at a much more classic, heraldic result. This lack of bias adds significant value and richness to the scene. In fact, within the Matinal team, there are people who don’t like football, at least not in its traditional sense, but connect to it for other reasons. It’s in that friction and diversity of backgrounds where the magic happens.

There’s something about football that has made it transcend the sport itself. When do you think it began functioning as a cultural phenomenon in its own right? In a hyper-professionalized world, what role does the fan play in shaping football’s style and identity?

Football as a cultural and social phenomenon has always been part of its essence. When it comes to style and identity, I think the influence of the fan has grown in recent years compared to clubs and players, who historically set the tone. The football fan profile has diversified: it’s plural, directly connected to culture, and develops a sense of belonging through everything that happens on the pitch and beyond it. The sport is now expected to carry a purpose that extends beyond the stadium. Football no longer belongs exclusively to players and clubs — and the current challenge lies in mastering the conversation both on and off the field.

Do you think sports brands understand the cultural value of football?

Football, like fashion, is “reactive by design”: it waits to see what works and then replicates it with slight changes. Nobody wants to lead, but everyone wants to be among the first. Once again, the path is opened from subculture: Discord groups, run clubs, fictional football teams… I think some sports brands are learning where to look, and it’s very positive that they understand that cultural gravity starts within communities.

There’s a special connection between Matinal and music — or at least with music professionals. How did that relationship come about? What role does music play in shaping football identity today?

Both music and football have a deep sense of belonging and community embedded within them. Few disciplines share these values so strongly, which is why their relationship has always felt natural for Matinal. In terms of product, the concept of merch as a cultural artifact is essentially the same in both worlds: I see no difference between the feeling of crossing paths with someone wearing your team’s jersey or your favorite artist’s t-shirt.

Paco de Lucía, Rod Stewart, Elton John, Julio Iglesias, Bob Marley — there’s a long history between musicians and football. Today, is it associated with a specific style?

I’d summarize that list by saying personality sells tickets. The Gallagher brothers, Leiva, Dellafuente… In the collective imagination of music and football, there isn’t a dominant style, but there is a clear connection. For example, we’ve designed football shirts across a spectrum that ranges from Aitana to Viva Belgrado.

We’re not going to ask which musician is the best footballer, but you’ve organised matches in some pretty unusual places and situations. What do you think is the strangest setting you’ve ever played in? Any anecdotes?

In 2023, we played two matches in the same week against Duki, Milo J, Khea and their crew after a bit of banter during a dinner (Argentina World Cup 2022 vibes). The first match was behind closed doors, but on the second day some kids spotted us entering a sports center in central Madrid, and we ended up playing with more than 100 kids cheering from the sidelines. The younger sister of one of our players had seen us on TikTok.

Fashion has its runways twice a year; football has its own every four. What does the World Cup represent in terms of style?

The symbolic power of World Cup kits — and how they become icons (Spain 94, Germany 94, France 98) — feels like a breath of fresh air compared to the current pace, where clubs release up to four or five kits per season.

What can you tell us about the presentation of adidas kits in Los Angeles?

adidas has shown how it’s dominating the conversation both on and off the pitch. The reintroduction — 36 years later — of the Trefoil logo on World Cup kits is a strong move, with Originals acting as the narrative engine in a space historically reserved for performance. This makes it easier for culturally engaged insiders to connect with football through their own passion points — design, fashion, music — and organically expand the brand’s discourse.

In my opinion, this should be the future of the relationship between football and brands: narratives rooted in their own cultural value, connected to the sporting context yet able to stand independently. What happens around the pitch is now just as relevant as what happens on it.

What interests you most about the communities formed around football — the stands, the streets, creative projects?

I’m interested in analyzing how creative football projects anticipate cultural shifts instead of reacting to them. As I mentioned before, discourse leaders always emerge from the margins.

Football is undergoing a visual, narrative and aesthetic transformation. Where do you think this evolution is heading?

Fans and players are becoming increasingly plural and diverse. Clubs have turned into complex ecosystems. Leagues are no longer just competitions, but festivals. In short, the value of football as a brand now lives both on and off the pitch. It needs to develop its own lore: a narrative thread that keeps fans engaged between seasons, not limited solely to results.

What values or emotions would you like Matinal FC to transmit to future generations of football and culture fans?

Football goes far beyond Sunday matches or sport in the strict sense — it’s part of our identity and everyday life. Human first, athlete second.

From Ise to Tokyo: the origin of a hybrid vision

Born in 1964 in Ise, Japan, Fujiwara made his first creative leap when he moved to Tokyo at just eighteen. There, he began studying fashion, drawn to the rebellious spirit of Vivienne Westwood. His talent earned him a scholarship that took him to London, where the defining spark ignited: late punk, sound systems, and the rise of hip hop all collided in a scene that was redefining youth culture.

A piece of advice from Malcolm McLaren pushed him even further: New York. And there, in the birthplace of hip hop, Fujiwara found his language. He didn’t just absorb music, but attitude. Back in Japan, he became one of the first DJs to introduce the genre, performing as part of Tiny Panx and planting an aesthetic that would take hold in Tokyo. At the same time, he was involved in the development of Major Force, the label where Tiny Panx released music, which in a curious reversal of influences would later prove key to the UK scene, particularly through its impact on Mo’ Wax.

Culture before product: the birth of Japanese streetwear

Fujiwara understood something early on: streetwear is not clothing, it’s context. Together with Kan Takagi, he created the column Last Orgy, a kind of cultural compass for an entire generation. From music to emerging trends, everything passed through his filter.

In 1993, he helped launch NOWHERE, a store that would become far more than a retail space. It was there that brands like UNDERCOVER and A Bathing Ape were born, driven by Jun Takahashi and Nigo. What began as a response to low demand ended up becoming the foundation of two streetwear giants. Fujiwara didn’t just participate, he activated an ecosystem.

The power of collaboration: Fragment and beyond

If there is a thread running through Fujiwara’s career, it’s his ability to connect worlds. His brand Fragment Design operates as an archive, a laboratory, and a creative platform. From collaborations with Nike, such as the HTM line with Tinker Hatfield and Mark Parker, to projects with Louis Vuitton and Pokémon, his approach has remained consistent: cross cultures and generate desire.

But his method is even more compelling. Fujiwara creates brands, lets them grow, and then connects them through strategic collaborations. It’s a living system, almost organic, where each project feeds into the next.

In a universe obsessed with names and visibility, Hiroshi Fujiwara has built something different: an invisible network of influence, one that quietly points the way forward.