Tag Archives: Fashion

This Futuristic 3D-Printed Shoe Started as a Clay Sculpture

Posted on by

Yanko Design’s Design Mindset podcast continues to carve out a thoughtful space for conversations around creativity, innovation, and the ideas shaping the future of design. Now at Episode 22, the weekly podcast is steadily building a strong voice of its own by focusing not just on finished products, but on the processes, philosophies, and experiments behind them. Powered by Zawa, this latest episode turns its attention to a fascinating tension in contemporary design: as AI becomes more embedded in creative workflows, where does human originality begin, and what happens when the most forward-looking idea starts with something as ancient as clay?

That question drives host Radhika Seth’s conversation with Ben Weiss, CEO of Syntilay, a company already known for pushing footwear into unfamiliar territory through AI, 3D printing, and custom-fit production. In this episode, Weiss unpacks the making of the Skin shoe, a project that began with artist Sebastian ErraZuriz sculpting directly around his foot before the form was scanned, translated, and turned into wearable footwear. The result is not just a new shoe, but a new argument for how design can begin, who gets to author it, and why technology may be most powerful when it supports human expression rather than replacing it.

Explore Zawa.ai

Starting with Clay Instead of Software

The most striking part of the Skin shoe story is that it did not begin with a digital tool, a design brief, or a manufacturing constraint. It began with clay in the hands of an artist, and for Ben Weiss, that starting point changed everything about the outcome. As he explains, “People kept asking us, why start with clay? Why not just open a design software and begin, you know, kind of like the typical path for making shoes. And the answer is because a computer has an idea and some predetermined steps. But when you start with an art form, it’s entirely original.” That distinction becomes the foundation of the entire episode.

Weiss makes it clear that the goal was not simply to make a shoe in an unusual way. It was to let an artist enter footwear authentically, using his own medium and instincts instead of adapting to the usual industrial process. Sebastian ErraZuriz sculpted around his own foot in a w†ay that was, as Weiss describes it, “very free flowing,” with no predetermined expectations about what a shoe should look like. That is also why the final product feels less like a sneaker and more like something anatomical, intimate, and expressive, a piece of wearable sculpture rather than a conventional consumer product.

Turning Sculpture into a Wearable, Custom Fit Shoe

Once the clay sculpture was complete, Syntilay had to solve the difficult problem of turning a tactile, hand-made object into something that could actually be worn. Weiss acknowledges that some detail is always at risk in the translation from physical object to digital file, but preserving the original character of the sculpture was a key priority throughout. “Cause you lose some detailing, but you know you try to capture it as best as you can,” he says, before noting that the final printed shoe still retains much of the fine surface texture and hand-made quality of the original piece.

What makes the process especially interesting is that the artistic form is largely preserved on the outside, while most of the personalization happens on the inside. Using more than 5,000 data points captured from a phone scan or in-person fitting, Syntilay adjusts the internal geometry of the shoe to fit each customer’s foot without distorting the sculpture itself. Weiss explains, “The key is is not changing the outside structure that much so it distorts what the shoe looks like. In this case, what this piece of art looks like on your feet, um, and while also providing a good fit experience. So most of the changes are happening on the inside.” That balance between fidelity and function is what allows the shoe to remain art-led while still being wearable.

Ben Weiss on AI, Human Craft, and What Innovation Actually Means

Although the episode title sets up a contrast between clay and AI, Weiss is not arguing against technology. His view is more layered, and more useful, because he sees AI as a tool that can support creativity without becoming the sole source of it. “AI is going to be a great augmenter, um, maybe that’s not the best word, but a great kind of helper for humans,” he says. He goes on to describe a future in which designers sometimes use tools, sometimes choose not to, and build workflows based on what makes the most sense for the idea rather than on ideology alone.

That mindset also shapes how Syntilay positions itself as a brand. Weiss points out that the company has already explored highly automated footwear, but the Skin shoe takes the opposite route by placing the human hand at the very beginning of the process. For him, the bigger point is experimentation. Footwear, he argues, has become too comfortable with minor updates, surface-level collaborations, and familiar formulas. His response is blunt and memorable: “A lot of collaborations today are new embroidery on the shoe, different colors. It’s nice, But like when you can take an actual clay sculpture that somebody made around their foot and make it something you can wear. I mean that’s next level.” Innovation, in this framing, is not about choosing between AI and craft, but about creating conditions for truly new ideas to emerge.

Storytelling, Authorship, and Why the Human Element Still Matters

One of the strongest ideas in the conversation is that the Skin shoe is not just a design object, but a story that could only exist because of its human origin. Weiss sees that as increasingly important in a design landscape crowded with AI-generated outputs and endless visual sameness. “The story of the skin shoe is is a great story,” he says, pointing to the way Syntilay documents the journey from clay sculpture to 3D file to finished shoe. For him, storytelling is not decoration added after the fact, but a core part of how a product communicates meaning and builds resonance with people.

That same human-first logic also shapes how Weiss thinks about authorship. When asked who designed the shoe, he resists reducing it to one name, instead crediting both Sebastian, who created the sculpture, and Pablo, who translated the scan into a printable product. “So I would say it’s designed by two people,” he says, acknowledging that the future of artist-led footwear may depend on this kind of collaboration between conceptual creator and technical designer. He also notes that stories like these matter because they cannot simply be fabricated by a machine, adding that “storytelling is is a really significant moat because there are some stories that AI can just doesn’t have.” In other words, the human element is not just visible in the object, but embedded in the narrative around it.

Joe Foster’s Influence and Ben Weiss’s Bigger Design Philosophy

Another compelling layer in the episode is Weiss’s reflection on working with Joe Foster, Reebok’s cofounder, whose decades of experience have shaped the way Syntilay thinks about product. Weiss describes Foster as someone who still approaches design with energy, curiosity, and a strong belief that the work should remain enjoyable. But the deeper lesson comes from Foster’s idea of “vis tech,” or visible technology, the principle that innovation should not be hidden beneath the surface. Customers should be able to look at a product and immediately understand that it is doing something different. That philosophy clearly runs through Syntilay’s work, from the pod-based structure of other models to the unmistakably sculptural silhouette of Skin.

Weiss also shares a broader set of lessons that go beyond this one project. He admits that early on, he had not fully figured out how to optimize footwear for printing cost while balancing comfort, and that learning came through iteration rather than certainty. He is equally clear about what AI companies often get wrong when entering established creative fields, saying the most common mistake is “losing the authenticity and respecting the people that come before you.” Still, his most revealing line comes near the end of the episode, when he is asked to define the future of design. His answer is simple and sharp: “It’s about giving people more opportunities to design.” That may be the clearest summary of both the Skin shoe and Syntilay’s larger ambition, opening the category to artists, creators, and new forms of authorship that conventional design systems have historically left out.

Design Mindset drops every week on Yanko Design. Catch Episode 22 in full wherever you listen to podcasts.

Explore Zawa.ai

The post This Futuristic 3D-Printed Shoe Started as a Clay Sculpture first appeared on Yanko Design.

Lofree Just Made the Most Eye-Candy Mechanical Keyboard of 2026 and It’s Inspired by Lipstick

Posted on by

Your desk says something about you before you ever open your mouth. The monitor, the mug, the little objects arranged around your keyboard, they all add up to a portrait. And the keyboard sits dead center in that portrait, the most touched, most visible, most personal object in the whole setup. So why do most of them look like they were designed by someone who has never once cared about how a workspace feels?

Lofree has been answering that question for years, building a catalog around the idea that a keyboard can carry genuine personality. The Lipstick is where that philosophy gets its boldest, most unapologetic expression yet. Five lipstick shades flowing across the keycaps in a deliberate ombre gradient, a sculptural lipstick-bullet ESC key rising from its cradle, and a gorgeous frosted transparent shell that puts the whole color story on display like jewelry in a glass case. It retails for $199 and is available now in Silver and Black directly from Lofree.

Designer: Lofree

Click Here to Buy Now

Never did I think the overlap between beauty and keyboards would exist so seamlessly. Lofree used dual-tone PBT keycaps to create that mystique that is each and every key, with a frosted outer shell revealing the hint of a hue underneath. Lofree didn’t scatter five themed shades arbitrarily across 84 keys. They sequenced them, running deep burgundy and wine tones from the left and right of the board through warm coral and brick red across the QWERTY row, then lightening into blush pink and dusty mauve as you move into the function row. The result reads like a makeup palette laid flat across your desk, a color story with a beginning, a middle, and an end. The keys on the extreme left and right (Tab, Caps Lock, Shift, Enter) are single-tone, giving you a direct look at the color while the rest of the row looks like actual samples of lipstick or nail paint that you’d feel like popping out to test. Pair this with the nail-job on your actual hands and you’ve got absolute art at work.

Lofree’s rounded, typewriter-inspired keycap profile has been a house signature since the original Block, and the Lipstick leans into it fully. That retro shape is clever because it mimics the cylindrical form of a lipstick tube at a miniature scale, which means the thematic reference lands in three dimensions rather than just through color. The ESC key pushes that logic to its natural conclusion, a fully sculpted lipstick bullet in matte red, sitting upright in a black cradle in the top left corner of the board. It physically protrudes above the surrounding keys, and when you see it in person, it has the quality of a very good joke told with a completely straight face. Clever without being loud about it.

Under all of that, Lofree built a proper enthusiast keyboard. The Lipstick runs Lofree x Gateron linear switches with a 40g actuation force, hot-swappable and compatible with both 3-pin and 5-pin configurations, so you can retune the typing feel whenever you want without touching a soldering iron. A gasket mount structure absorbs the hard edges out of each keystroke, softening the acoustics and adding a slight cushioned rebound that makes extended typing sessions noticeably more comfortable than a standard tray mount board. The 1000Hz polling rate over both 2.4GHz wireless and USB-C wired connections keeps response times sharp, and a 4000mAh battery delivers up to 14 days of use with the backlight off, or 30 hours with all seven lighting effects running. The keys aren’t individually backlit, which is what you’d expect with dual-tone PBT caps, but rather the space between the keys lights up, giving you a look at the keyboard’s outline. Bluetooth 5.3 handles up to three paired devices simultaneously, with seamless switching across macOS, Windows, iOS, and Android.

Lofree also makes a matching Lipstick Wireless Numpad that carries the same gradient keycaps and frosted shell, available separately for anyone who wants the full spread across their desk. It connects via the same tri-mode system, so the two sit together without any friction. At $199 for the keyboard, the Lipstick sits at a price point where the spec sheet fully justifies the ask, and the design justifies everything else.

Click Here to Buy Now

The post Lofree Just Made the Most Eye-Candy Mechanical Keyboard of 2026 and It’s Inspired by Lipstick first appeared on Yanko Design.

This Flat Textile Transforms Into a Sculptural Cap With Steam

Posted on by

The TYPE-O CAP by A-POC ABLE ISSEY MIYAKE is not just a cap; it is a small, wearable study in transformation. At first, it begins as something surprisingly simple: a flat woven textile. But through the application of heat and steam, the fabric contracts, expands, and reshapes itself into a sculptural three-dimensional form. What was once flat becomes structured. What looked quiet becomes expressive. The result is a cap that feels both technical and poetic, sitting somewhere between fashion, material research, and soft architecture.

At the center of the cap is Steam Stretch, an innovative textile technique developed by A-POC ABLE ISSEY MIYAKE. The fabric is woven using heat-reactive yarns that respond to steam by shrinking in specific areas. This contraction is not random. It is carefully planned through data-driven jacquard weaving, where thousands of threads are arranged to create a structure before the object even visibly takes shape. Once steam is applied, the hidden logic of the weave is activated, allowing the cap to rise from a flat surface into a dimensional form.

Designer: Yoshiyuki Miyamae

This is what makes the TYPE-O CAP so compelling. Its shape is not created by cutting multiple panels and stitching them together in a conventional way. Instead, the structure is embedded into the textile itself. The pleats, curves, and volume emerge from the behavior of the material. The fabric almost seems to remember what it is supposed to become.

Created in collaboration with Nature Architects, the cap is part of a larger exploration into how textiles can transform through programmed material behavior. Nature Architects studied the contraction properties of the Steam Stretch yarn and developed algorithmic methods to generate weave patterns that control how the fabric changes shape. In the case of the cap, this results in a geometric pleated structure that expands around the head, adapting to the wearer while maintaining its sculptural character.

Despite its experimental process, the cap remains thoughtfully functional. It is unisex, washable, adjustable, and flat-packable, making it as practical as it is innovative. A drawcord at the back allows the wearer to fine-tune the fit, while the pleated structure gives the cap a flexible, adaptive quality. It can also be dyed in various colors, giving the same material system different expressions depending on finish, tone, and styling.

What is especially interesting about the TYPE-O CAP is how it makes advanced material technology feel approachable. It is not a dramatic runway object that only exists as a concept. It is an everyday accessory, but one that quietly challenges how we think about clothing construction. The cap suggests a future where garments may not need to be assembled from many separate cut pieces. Instead, they could be woven flat, transported efficiently, and transformed into complex forms through heat, steam, or other triggers.

While the cap is the focus here, the possibilities of this material system extend far beyond headwear. The same Steam Stretch and data-driven weaving approach can be used to create other garments with complex pleats, adaptive silhouettes, and reduced sewing requirements. It also opens up possibilities beyond fashion, including furniture, lighting, interiors, and even architectural applications. A textile that can shift from flat to dimensional has enormous potential in a world increasingly interested in compact production, responsive materials, and more efficient design systems.

The TYPE-O CAP captures that potential in a beautifully contained form. It is small enough to be worn casually, but conceptually large enough to suggest a different way of making. It turns fabric into structure, steam into a design tool, and a cap into an object that feels almost alive.

The post This Flat Textile Transforms Into a Sculptural Cap With Steam first appeared on Yanko Design.

The Hermès Birkin Finally Has a LEGO Version and It Opens to Reveal A Secret Runway Inside

Posted on by

The Hermès Birkin has one of the most theatrical purchasing rituals in luxury retail. You cannot simply walk into a boutique on Rue du Faubourg Saint-Honoré and buy one. Hermès makes you earn it, building a relationship with a sales associate over months, sometimes years, demonstrating cultural fluency with the house before they’ll even have the conversation. The result is an object that carries as much mythology as it does resale value, a handbag that has become shorthand for a particular kind of aspirational excess that the internet finds endlessly fascinating.

LEGO Ideas builders BOI_Design and KittyJW found a rather elegant workaround. Their MOC (My Own Creation) reimagines the Birkin 20 Faubourg, the special edition inspired by Hermès’s flagship Paris store, as approximately 1,400 bricks of deep navy, dark green, and gold. The exterior facade doubles as a miniature rendering of 24 Rue du Faubourg Saint-Honoré itself, complete with arched boutique windows and orange awnings. And it opens.

Designers: BOI_Design and KittyJW

The silhouette is immediately recognizable to anyone who has spent time in the vicinity of luxury retail, or, more realistically, scrolled past one on Instagram. The trapezoidal body is rendered in deep navy blue tiles, layered with a subtle horizontal banding that gives the surface genuine texture and depth. The handles arc overhead in dark green, assembled from linked Technic-adjacent elements that convincingly mimic the soft curve of the real bag’s leather grip. Gold hardware details sit at the clasp, at the side buckles, and along the turnlock assembly, and a tiny linked orange chain drops a red heart charm and a gold minifigure pendant in a detail that reads as both playful and surprisingly precise. Flip the bag around and the back panel is clean and quiet, just navy tiles and a gold Hermès tile sitting on a dark strap, which is exactly how the real thing looks.

The front face depicts three arched windows dressed with crisp white frames and orange awnings are spaced across the lower body, referencing the Haussmannian rhythm of the actual boutique facade at Faubourg Saint-Honoré. It takes a second to fully resolve in your eye, this thing that is simultaneously a handbag and a building, and that slight double-take is very much the point. The builders describe it as merging fashion and architecture into a single object, and looking at it straight on, that framing holds up completely.

My favorite detail, however, is what happens when you open it. The lid swings up to reveal a hidden interior scene that commits fully to the bit. Three pink minifigures, each carrying a tiny handbag, are posed on oversized primary-color bricks in red, yellow, and blue, the kind of bold, joyful color blocking that feels distinctly LEGO while also evoking a fashion week runway setup. Nestled alongside them is a miniature Birkin 20 Faubourg bag rendered at a smaller scale, a self-referential easter egg that will land immediately with anyone paying attention. The interior lining is lined in cream and tan tiles, a genuinely considered touch that mirrors how a real Birkin’s suede interior contrasts against its exterior leather. At 28.5 centimeters wide and 29 centimeters tall, the whole thing has real physical presence on a shelf.

The build is currently gathering votes on LEGO Ideas, the community platform where fan submissions need to reach 10,000 supporters before LEGO’s internal team will formally review them for potential production. It’s early days for this one, but the concept has the kind of crossover appeal, fashion collectors, LEGO enthusiasts, Paris romantics, people who just want the Birkin experience without the two-year waitlist, that could carry it a long way. You can head to the LEGO Ideas page here to cast your vote.

The post The Hermès Birkin Finally Has a LEGO Version and It Opens to Reveal A Secret Runway Inside first appeared on Yanko Design.

This 2,550-Hour Dress Blew Real Bubbles at the Met Gala

Posted on by

The Met Gala is probably the most popular and glamorous fashion event in the Western world. Whichever way you feel about the organizers and having such a lavish event in these times, you can’t deny that it is very much talked about, especially on social media, due to the personalities who attend and, of course, what they’re wearing.

This event is also a chance for designers to showcase their more experimental works. One of the most eye-catching and interesting dresses we saw this year is the Airo dress, worn by Olympic freestyle skier and model Eileen Gu and designed by Iris van Herpen in collaboration with artist duo A.A. Murakami. The dress features 15,000 iridescent glass bubbles and, believe it or not, it actually released real floating bubbles live on the red carpet.

Designer: Iris van Herpen

The dress’s silhouette is sculptural and mini in length, giving off a cloud-like, ethereal effect that instantly captured eyes on the red carpet. Van Herpen described the bubbles as a reflection of human anatomy, “which is composed of 99.9% empty space,” and the piece is also a nod to her ongoing fascination with biotech couture. Olympic triple medalist Eileen Gu is a wonderfully fitting muse, as the concept philosophically mirrors the kind of weightless, almost gravity-defying precision her sport demands on the snow slopes.

This is not just a simple dress adorned with bubbles. Each of the 15,000 iridescent glass bubbles was hand-moulded and then attached to the bodice using UV light, a meticulous process that required 2,550 hours of work across 15 weeks, carried out by a dedicated team of specialists in couture, science, and computational design. Underneath the skirt, hidden microprocessors pressurized gas and released real, floating bubbles in timed sequences. Everything you saw on that red carpet was completely real, with no filters and no CGI. It was a pure, breathtaking collaboration between fashion, art, and science.

What truly elevates the Airo dress from couture to living art is the partnership with A.A. Murakami. Alexander Groves and Azusa Murakami, who work between London and Japan, are celebrated for transforming ephemeral materials like steam, light, and air into immersive living installations. Their renowned “Floating World” exhibition is a perfect example of how they blur the line between the tangible and the invisible. Remarkably, the Airo dress marks the very first time they have applied their artistic philosophy to a wearable garment, and the result is nothing short of extraordinary.

What makes this piece particularly compelling is the question it poses while you’re simply looking at it: where does the body end and the space around it begin? The cloud of iridescent glass and the soft stream of real bubbles dissolving into the air around Eileen Gu created something genuinely hypnotic. It wasn’t just a dress being worn; it was a statement unfolding in real time. The silhouette seemed to blur the lines of her athletic frame, giving her an almost otherworldly quality that no CGI could ever replicate.

Van Herpen is no stranger to this kind of boundary-pushing. Her previous viral creation was a luminous dress made of living algae, crafted in collaboration with a bio-engineer and biophysicists from the University of Amsterdam. With every headline-making piece, she continues to challenge what fashion can be, not just as clothing, but as a vehicle for scientific exploration, philosophy, and wonder.

And perhaps that’s the most exciting thing about the Airo dress. In a sea of beautiful gowns at the Met Gala, this one made people stop and ask questions about science, about art, about the human body, and about what fashion is even for. At a time when so much of what we see has been filtered, edited, or AI-generated, there’s something incredibly refreshing about a dress that creates its own quiet spectacle from the inside out. Real bubbles. Real craft. Real wonder. That’s the kind of fashion that stays with you long after the cameras have gone.

The post This 2,550-Hour Dress Blew Real Bubbles at the Met Gala first appeared on Yanko Design.

adidas Just Made the Best World Cup Drop for Your Dog

Posted on by

adidas dropped a pet jersey collection for the FIFA World Cup 2026 and I genuinely cannot decide if it’s brilliant or completely unhinged. Maybe both. That tension is precisely what makes it worth paying attention to.

The collection features scaled-down versions of the official home kits for four national federations: Argentina, Mexico, Colombia, and Japan. Each jersey is made with interlock fabric, finished with heat-transferred federation crests and the adidas logo, and sized to fit pets of varying builds. On paper, it reads like a novelty item, the kind of thing that gets a cute Instagram moment and then disappears. But the more I think about it, the more I suspect adidas is operating on a level most people aren’t fully registering yet.

Designer: adidas

This isn’t the brand’s first move into pet fashion. They released a pet tracksuit collection in late 2025 and followed it up with Lunar New Year designs in early 2026. The World Cup drop is the third chapter, and it’s by far the most culturally loaded. Attaching pet merchandise to the biggest sporting event on the planet isn’t a gimmick. It’s a calculated bet on where consumer culture is right now. People don’t just watch the World Cup. They host parties, coordinate outfits, wear matching kits with their kids, and increasingly treat their pets as full participants in the whole ritual. adidas saw that behavioral shift and decided to meet the moment rather than wait for someone else to.

The design fidelity is where I think they actually earned some genuine respect here. These aren’t generic jerseys with a crest slapped on. The Argentina kit carries the iconic Albiceleste stripes. The Mexico jersey features the Piedra del Sol, the same Aztec sun stone print embedded in the human version. The Colombia and Japan kits follow the same logic: faithfully reproduce the visual DNA of the official tournament kits, just at a smaller scale. That level of attention to detail signals that adidas isn’t treating the pet market as an afterthought. They’re treating it as a legitimate extension of the product line, and that’s a meaningful distinction.

Whether that’s the right move commercially is a separate conversation. The pet economy has been growing steadily for years, and premium pet accessories have become a real, serious category. But there’s also a risk of diluting what a World Cup kit means. A national team jersey carries history, identity, and a specific kind of weight. Putting it on your Corgi is either a celebration of that connection or a softening of it, depending on how you feel about football culture to begin with. I lean toward the former, mostly because fandom has always been about emotional inclusion rather than gatekeeping.

What adidas is really selling here is a shared experience. The visual of a fan and their dog in matching kits is immediately legible as a moment of joy, and that’s not nothing. The FIFA World Cup 2026 runs from June 11 to July 19 across the United States, Canada, and Mexico, which means there’s an entire summer of viewing parties and matchday gatherings where this collection becomes exactly the kind of organic conversation starter that no marketing budget can easily manufacture. You don’t need a big campaign when your product photographs that naturally.

The collection became available on May 1st across North America, Latin America, and selected markets in Asia including Japan, China, Vietnam, the Philippines, and Indonesia, through adidas stores, retail partners, and online. The timing gives fans about six weeks to get their pets game-ready before the opening match. That’s enough runway to make it feel intentional rather than rushed. Is it the most important design release of 2026? Obviously not. But it’s a genuinely smart piece of brand work that understands its cultural moment, respects its source material, and executes with more craft than the premise suggests it deserves. Sometimes that’s enough. Sometimes that’s actually the point.

The post adidas Just Made the Best World Cup Drop for Your Dog first appeared on Yanko Design.

Keen’s Zero-Glue Shoe Uses A Cord-Cage To Hold Itself Together, And Can Be Repaired By Swapping Parts

Posted on by

The footwear industry runs on glue. Something like 30 billion pairs of shoes get manufactured globally each year, and nearly all of them rely on industrial adhesives to bond uppers to soles. Those adhesives contain solvents that create toxic fumes in factories, complicate recycling at end of life, and introduce a whole class of chemicals that workers and the environment would be better off without. It’s a manufacturing reality so fundamental that most people never think about it, which makes it a perfect target for redesign if you can figure out the engineering.

Keen just launched the Uneek 360, and the Portland-based brand is calling it their first solvent-free shoe. The design breaks down into four separate pieces: a knit upper made from recycled plastic bottles, an external cord cage that wraps around the structure, a drop-in footbed, and a hybrid rubber-foam outsole. Nothing is glued. The cords loop through the sole unit and lock with a toggle, creating a mechanical connection where adhesive would normally live. It’s a modular build that extends Keen’s decade-long Detox the Planet initiative from chemistry into construction itself, and it arrives with a $190 price tag and enough design confidence to make you wonder why this approach took so long to reach production.

Designer: Keen Footwear

The cord cage is downright clever. Keen has been refining cord-based construction since the original Uneek sandal launched back in 2014, a polarizing design that used two interwoven cords as the entire upper. That silhouette took three years to develop and became a cult favorite despite looking like something between a huarache and a fishing net. The 360 repurposes that cord expertise into structural engineering rather than aesthetics. The articulated cording moves on multiple axes, which means it adapts to foot shape dynamically while maintaining enough tension to hold the four components together under walking loads. Pull the locking toggle and the whole assembly comes apart in seconds, with each material cleanly separated for recycling.

This fits into Keen’s broader chemistry work, which has been unusually transparent for a footwear brand. Since starting their Detox the Planet program in 2014, they’ve invested over 11,000 hours and $1.2 million eliminating toxic chemical classes from their supply chain. They went fully PFAS-free in 2018, removing those forever chemicals from over 100 different shoe components, then open-sourced the process so competitors could follow the same path. Five of six targeted chemical classes are gone. Solvents, the ones embedded in adhesives, are the final holdout. The Uneek 360 represents a different approach to that problem: instead of reformulating the glue, eliminate the need for it entirely.

The modular construction creates some really smart end-of-life options. Most shoes become landfill material because you can’t separate bonded composites without industrial shredding, and even then the mixed materials have limited recycling value. A shoe you can disassemble by hand into distinct material streams (knit fabric, rubber, foam, synthetic cord) actually stands a chance of getting processed properly. Whether that happens depends on infrastructure and consumer behavior, but at least the design removes a fundamental barrier.

Keen launched the Uneek 360 in Black/Magnet and Vapor/Star White colorways, with men’s and women’s sizing available through their site and select retailers. At $190, it sits at the premium end of the casual sneaker market, which reflects both the recycled materials and the engineering required to make cord-based mechanical locking work at production scale. It’s proof that footwear assembly without solvents is manufacturable, not just a concept sketch, which matters if the industry is serious about moving beyond adhesive dependency.

The post Keen’s Zero-Glue Shoe Uses A Cord-Cage To Hold Itself Together, And Can Be Repaired By Swapping Parts first appeared on Yanko Design.

Adidas Made a Marathon Shoe That Weighs Less Than an Apple

Posted on by

Pick up an apple from your kitchen counter. Now imagine a pair of running shoes weighing less than that single piece of fruit. That’s the Adidas Adizero Adios Pro Evo 3, and it’s not a concept shoe or a lab curiosity. It just debuted at the 2026 London Marathon, worn by Sabastian Sawe and Yomif Kejelcha, who became the first athletes in history to break the sub-two-hour marathon barrier.

The Evo 3 weighs in at just 97 grams in a UK size 8.5, making it the first sub-100-gram racing shoe Adidas has ever produced. For context, the shoe’s box weighs more than the shoe inside it. That’s the kind of engineering achievement that sounds like a flex until you understand how much it actually matters at race pace.

Designer: adidas

The secret is a new construction called ENERGYRIM, a carbon-integrated design that completely rethinks how a supershoe is built. Rather than simply layering carbon plates into foam, Adidas redesigned the relationship between the two, allowing them to work in concert rather than independently. The result is a shoe that’s 30% lighter than its predecessor, with 11% greater forefoot energy return and a 1.6% improvement in running economy. To put those numbers in context: at the marathon level, a 1.6% improvement in running economy isn’t marginal. It’s the kind of number that separates a podium from a personal best.

The foam itself is the other major story here. Adidas developed a new generation of Lightstrike Pro Evo compound that is 50% lighter than the version used in the Evo 2. That’s not a small iteration. It’s a material science leap that took three years and over a dozen tested prototypes, refined in labs in Herzogenaurach and tested at altitude training camps in Kenya and Ethiopia. Elsewhere on the shoe, the outsole ditches the liquid rubber coating from the previous model in favor of strategically placed Continental rubber, a welcome upgrade for anyone who isn’t a professional sprinter running on perfectly dry asphalt. It’s a small change that makes the shoe meaningfully more accessible without compromising the weight equation in any significant way.

From a design standpoint, the Evo 3 is striking in the way extreme performance gear tends to be: lean, almost aggressive, with a silhouette that looks sculpted rather than constructed. The toebox is narrow, almost spike-like, which is clearly a functional decision rather than an aesthetic one. The fit prioritizes containment over comfort, and that feels like the right philosophy for a race day shoe that is not designed for casual wear. You wear shoes like this to run the fastest race of your life. The trade-offs are understood, and most serious runners will make them without hesitation.

The price is USD 500, with an initial limited release on April 27, 2026, and a wider launch expected in fall 2026. That price tag will raise eyebrows. But it helps to remember that the Adizero Evo franchise has already seen athletes break three world records and win over 30 major road races since 2023, including six World Marathon Major wins and an Olympic record time. The shoe’s pedigree isn’t marketing copy. It’s a documented track record.

What makes the Evo 3 genuinely interesting beyond the running community is what it represents as a design object. It sits at the intersection of sports science, materials engineering, and product design in a way that very few consumer products ever manage. The obsession with weight reduction, the carbon geometry experiments, the altitude testing: these are the ingredients of something closer to aerospace thinking than traditional footwear development. When the research process looks more like aircraft engineering than sneaker design, the result tends to look and perform like nothing that came before it.

Whether you run marathons or not, there’s a certain pleasure in watching a brand push against what seemed like a physical limit and actually break through. Adidas didn’t just shave a few grams off an existing shoe. They asked what a marathon shoe could look like if weight were treated as a fundamental design constraint rather than just another spec to optimize. The answer is 97 grams. And somehow, impossibly, it still performs better than everything that came before it.

The post Adidas Made a Marathon Shoe That Weighs Less Than an Apple first appeared on Yanko Design.

Adidas Made a Marathon Shoe That Weighs Less Than an Apple

Posted on by

Pick up an apple from your kitchen counter. Now imagine a pair of running shoes weighing less than that single piece of fruit. That’s the Adidas Adizero Adios Pro Evo 3, and it’s not a concept shoe or a lab curiosity. It just debuted at the 2026 London Marathon, worn by Sabastian Sawe and Yomif Kejelcha, who became the first athletes in history to break the sub-two-hour marathon barrier.

The Evo 3 weighs in at just 97 grams in a UK size 8.5, making it the first sub-100-gram racing shoe Adidas has ever produced. For context, the shoe’s box weighs more than the shoe inside it. That’s the kind of engineering achievement that sounds like a flex until you understand how much it actually matters at race pace.

Designer: adidas

The secret is a new construction called ENERGYRIM, a carbon-integrated design that completely rethinks how a supershoe is built. Rather than simply layering carbon plates into foam, Adidas redesigned the relationship between the two, allowing them to work in concert rather than independently. The result is a shoe that’s 30% lighter than its predecessor, with 11% greater forefoot energy return and a 1.6% improvement in running economy. To put those numbers in context: at the marathon level, a 1.6% improvement in running economy isn’t marginal. It’s the kind of number that separates a podium from a personal best.

The foam itself is the other major story here. Adidas developed a new generation of Lightstrike Pro Evo compound that is 50% lighter than the version used in the Evo 2. That’s not a small iteration. It’s a material science leap that took three years and over a dozen tested prototypes, refined in labs in Herzogenaurach and tested at altitude training camps in Kenya and Ethiopia. Elsewhere on the shoe, the outsole ditches the liquid rubber coating from the previous model in favor of strategically placed Continental rubber, a welcome upgrade for anyone who isn’t a professional sprinter running on perfectly dry asphalt. It’s a small change that makes the shoe meaningfully more accessible without compromising the weight equation in any significant way.

From a design standpoint, the Evo 3 is striking in the way extreme performance gear tends to be: lean, almost aggressive, with a silhouette that looks sculpted rather than constructed. The toebox is narrow, almost spike-like, which is clearly a functional decision rather than an aesthetic one. The fit prioritizes containment over comfort, and that feels like the right philosophy for a race day shoe that is not designed for casual wear. You wear shoes like this to run the fastest race of your life. The trade-offs are understood, and most serious runners will make them without hesitation.

The price is USD 500, with an initial limited release on April 27, 2026, and a wider launch expected in fall 2026. That price tag will raise eyebrows. But it helps to remember that the Adizero Evo franchise has already seen athletes break three world records and win over 30 major road races since 2023, including six World Marathon Major wins and an Olympic record time. The shoe’s pedigree isn’t marketing copy. It’s a documented track record.

What makes the Evo 3 genuinely interesting beyond the running community is what it represents as a design object. It sits at the intersection of sports science, materials engineering, and product design in a way that very few consumer products ever manage. The obsession with weight reduction, the carbon geometry experiments, the altitude testing: these are the ingredients of something closer to aerospace thinking than traditional footwear development. When the research process looks more like aircraft engineering than sneaker design, the result tends to look and perform like nothing that came before it.

Whether you run marathons or not, there’s a certain pleasure in watching a brand push against what seemed like a physical limit and actually break through. Adidas didn’t just shave a few grams off an existing shoe. They asked what a marathon shoe could look like if weight were treated as a fundamental design constraint rather than just another spec to optimize. The answer is 97 grams. And somehow, impossibly, it still performs better than everything that came before it.

The post Adidas Made a Marathon Shoe That Weighs Less Than an Apple first appeared on Yanko Design.

These Sequins Are Made From Industrial Dye Sludge and Still Sparkle

Posted on by

The fashion industry has a water problem that most people never see. Dyeing fabric is one of the most chemically intensive steps in garment production, and the wastewater that comes out of that process carries synthetic dyes, heavy metals, and other pollutants that routinely end up in rivers and soil. By the time a sequined dress reaches a store, the environmental cost of making it sparkle is already long gone and mostly forgotten.

CQ Studio, a London-based regenerative textiles lab, tackled that problem head-on with a material experiment that turns the very wastewater from textile dyeing into the sequins themselves. The result, called Detox Bio-Embellishments, was on show at BASE Milan during Milan Design Week 2026 as part of the studio’s debut exhibition, Transient Gradients.

Designer: Cassie Quinn (CQ Studio)

The process starts by running textile-dye wastewater through a detox capture system that uses food waste to pull out the contaminants. Once the water is cleaned and separated, the leftover sludge doesn’t get thrown away. Instead, it’s processed into thin, flexible sheets that look and feel like plastic, but are bio-based, biodegradable, and recyclable. Sequins are then die-cut from those sheets, and whatever scraps remain from the cutting are folded back into the process.

What makes the material particularly clever is how far it extends the concept of nothing wasted. It handles both synthetic-dye and natural-dye wastewater, keeping the synthetic version from ever reaching waterways, while the natural-dye version becomes safe enough to compost into soil. The sheets can also be made using food waste and natural pigments, giving designers a way to produce embellishments in a wide range of colors without any virgin plastic.

The visual result doesn’t look like a sustainability project at all. The sequins and embellishment pieces come out in deep blacks, jewel-like teals, warm ambers, rich reds, and tortoiseshell-patterned fragments that carry a high-shine finish. Strung onto braided cords and translucent threads for the Milan installation, they hung in dense cascading curtains that looked more like haute couture jewelry than anything born from industrial sludge.

For the fashion industry, where sequins are almost universally made from petroleum-based PET plastic and are notoriously difficult to recycle, having a material that can match the visual appeal of conventional embellishments while being fully bio-based is a genuinely significant step. A garment made with Detox Sequins wouldn’t just sparkle; it would also carry a story worth telling, one that runs from a dyeing vat through a detox system and out the other side as something a designer can actually use.

The post These Sequins Are Made From Industrial Dye Sludge and Still Sparkle first appeared on Yanko Design.