In 2024, Nike and Hyperice got together for a pair of boots that used air compression to massage athletes’ feet. Now, the two stalwarts in their own domains have joined forces again to release Nike Air Zoom Hyperslide – a pair of slides that could easily be the most innovative iteration of recovery slides ever made. Designed to heat and massage your feet after a long day’s work or activity, it uses Hyperice’s recovery technology with Nike Air Zoom cushioning.
The combination makes the slides ultra-comfy to wear after a tiresome day and increasingly relaxing for the feet post-workout. This convenience is made possible with the magnetically connected Hyperslide Pod, which resides in the adjustable, wide coverage midfoot strap of the slide. The pod is removable, but when it’s attached to the slide, it “provides targeted Hyperice heat and vibration massage across the top of the foot,” Nike confirms.
The heat therapy and vibration massage help reduce tension and relax the feet after strenuous training, a game of football, or a morning run. The comfort is, however, enhanced by the Air Zoom cushioning spanning the entire length of the footwear. The soft proprietary sole provides responsive comfort for everyday wear, which adds to the primary feature of heat and massage.
The Nike Air Zoom Hyperslide is created in two colors: Black and Beige. Despite the simplicity of the colors, the slides look distinct in their monochromatic finish. The silhouette is smooth and has a high-end construction feel to it, which revolves around the mounting hub for the magnetic pod.
The pod sitting at the top of the foot is the main aspect of the slide’s recovery capability. It is created to provide three levels of targeted heat to each foot, reaching 117 degrees Fahrenheit, or 47 degrees Celsius. The slides also create three levels of vibrations for a 15-minute recovery cycle. The pod is rechargeable and features a USB-C port for fast charging.
The levels of heat and vibration can be customized from the pod on the slides, or via the Hyperice app. For those, like me, who are often confused with the settings, the Air Zoom Hyperslide features onboard indicator lights signalling heat, vibration, or battery level. The slides are designed using feedback from athletes and are now being hailed for their soft cushioning, heat, and vibration working in tandem for post-workout recovery.
If you’re interested, we’ve learned that the Nike Air Zoom Hyperslide will be available globally starting September 29, 2026. The information is not official, but sources suggest the slides created to heat and massage your feet would cost $250.
Three hundred dollars for a suede sneaker usually comes with some kind of hook, a designer moniker, a tiny production run, something to point at. PUMA skipped all of that here and just leaned on the Pikachu name, which honestly might be enough on its own. There’s no giant character graphic screaming for attention on this shoe either, which is a little unusual for a collab at this price. Instead the whole thing is built on a few small, well placed details, and that choice tells you a lot about who this release is really for.
That shoe is the PUMA Suede Pikachu, a reworking of the brand’s 1968 silhouette in electric yellow suede for Pokemon’s 30th anniversary. A two tone lightning bolt runs through the Formstrip, a glossy red heel patch nods to Pikachu’s cheeks, and a small enamel charm hangs from the laces instead of some oversized keychain. The outsole is translucent and honey colored, veined with cracked lightning lines like it’s mid charge. It releases July 25 at a pop up in Brooklyn, following a Mewtwo Suede last winter and an Espeon and Umbreon collection back in April. Whether $300 feels fair probably depends on how deep your Pokemon nostalgia runs, and I’ve got more to say on that below.
Designer: PUMA x The Pokemon Company
PUMA ditched the usual flat suede nap for something with a slightly raised, almost fuzzy texture on the upper, and it works better than it has any right to. It doesn’t look like yellow suede pretending to be Pikachu, it looks like the material itself got the memo. That’s a small manufacturing decision most people will never think twice about, but it’s exactly the kind of restraint that separates a thoughtful collab from a licensing cash grab. I’ve seen plenty of character sneakers that just print a face somewhere and call it a day. This one clearly wasn’t approved by someone in a hurry.
The suede shoe’s side stripe has been the same shape for decades, so bending it into a lightning bolt without losing the silhouette’s identity is a genuinely tricky bit of design math, and it’s the real flex of this shoe. They pulled it off by layering a mirrored silver bolt over the classic black stripe, so it catches light instead of just sitting there as a flat graphic. Then there’s the heel patch, a glossy red oval with a small bolt etched into it, which is easily the smartest detail on the whole shoe. It reads as Pikachu’s cheek without anyone having to spell it out, and that kind of subtlety is rare in character collabs that usually default to shouting. Most brands would have put Pikachu’s whole face there instead, and the shoe would have been worse for it.
The outsole is a translucent, honey toned rubber with cracked lightning veining running through it, like the sole itself is holding a charge. Paired with the enamel Pikachu charm hanging off the laces, small and flat rather than the bulky keychain treatment most collabs default to, the whole shoe reads as considered rather than merchandised. Even the packaging plays along, landing in a matte black box with a faint constellation print and gold foil branding, understated in a way that actually matches the shoe instead of overselling it. Nothing here needed to be loud to prove the license was real. That restraint is consistent from the box straight down to the sole.
PUMA opened its 30th anniversary campaign with a family sized Espeon and Umbreon collection in April, followed it with a Pikachu colored All-Pro Nitro 2 for the court, and is now closing out summer with what’s clearly the premium centerpiece of the whole run. Whether $300 sneakers with no performance tech attached are worth the price is a conversation that predates this shoe by years. But if PUMA is going to keep charging collector prices for nostalgia, this is the version of that trade that actually feels earned. The Suede has always been the brand’s most storied silhouette, and saving it for last was the right call. Whether Pokemon fans agree probably depends on how much shelf space they have left for sneakers they’ll never actually wear.
While the world is fixated on who’s making it to the quarterfinals of the FIFA World Cup. adidas thinks it’s done enough for the love of the game with the Trionda, and now it’s time to shift focus to basketball. To do that, the sportswear giant is bringing 3D-printed footwear innovation to the hardwood with the launch of adidas BB.01. It is the first 3D-printed basketball shoe to hit the market, in an eye-catching combination of Solar Red and Orbit Grey.
The 3D printed basketball shoe from adidas is a definite head-turner. It’s called the adidas BB.01 “Solar Red/Orbit Grey,” and it’s nothing like the traditional canvas, textile, and foam silhouettes. While most shoe midsoles are molded in factories, the BB.01 is printed entirely from resin in layers instead.
The basketball shoe is part of adidas’ Project R.A.P (Radical Athlete Perception). The program ensures that adaptive manufacturing is not just an experimental category but an actual way to create functional, court-worthy footwear. Based on this ideology, adidas BB.01 has been a long time coming.
The much-anticipated footwear finally has a release date and a price. Fans should be able to get their feet into the 3D-printed marvel starting July 14, when it will be available through the adidas Confirmed app for $250. Meticulously combining “cutting-edge digital manufacturing with elite on-court performance,” the shoe features Orbit Grey in the base, which, in contrast, is highlighted by the Solar Red upper cage. The Three Stripes logo is present on the heel, from where it extends upward toward the collar.
Since the footwear is designed to complement the wearer’s performance on the court, its 3D printed midsole is designed to handle the impact and keep the player “stable through cuts and landings.” The footwear weighs only 15.13 oz (428 g) and comes with its most striking resin outer shell on top of the engineered midsole, which utilizes a lattice design across the sidewalls. This form factor allows the shoe to flex with the twisting nature of the foot. Higher-density printing is also carried out around the toes and heels for stability.
adidas BB.01 is not an attractive shoe on the outside alone. On the inside, it also features a soft textile bootie that locks the foot in place, ensuring support and comfort. A flagbearer of the future of 3D printing in the footwear industry, adidas BB.01 will release on July 14, but you can start registering for it as early as July 9 through the company website.
Many of us would remember the New Balance Niobium Concept 1. Launched back in 2020, the modular silhouette really reformed outdoor footwear with its multi-functional design, which allowed it to be used in more than one way. Of course, many brands have been approaching modular footwear design with the idea of a circular economy in mind, where the shoe can be taken apart for recycling convenience. However, New Balance’s approach is different.
It is working on a pair of shoes that can actually pull off not two but at least three different purposes. This was substantiated by the Niobium Concept 1, which is now flowing as inspiration into the newly launched New Balance TDS MSNB1, which offers similar capabilities but in a new form and colors.
A bold intersection of craftsmanship, innovation, and functionality, the TDS MSNB1 is a revival of the Niobium Concept 1, pulled off in partnership by New Balance and Tokyo Design Studio Revive. The remarkable New Balance adaptability of the silhouette is retained with the addition of Tokyo Design Studio’s signature lifestyle aesthetics to form this shoe that changes shape in “three distinct stages of wear.” It can be worn as a rugged waterproof boot and become a functional outdoor mule when required. When you finally retire to the cozy comforts of the camp, it can also be used as a comfortable indoor slipper.
The modular nature of the TDS MSNB1 is ensured by the use of a specialized system of zippers that run down the tongue and around the heel. These zippers allow the wearer to easily assemble or disassemble the shoe’s components according to the activity or the time of day.
New Balance TDS MSNB1 modular silhouette is available in two colorways. While the TDS MSNB1 Zinc Blue is somewhere close to the tested territories, the Pistachio Butter colorway – in a muted yellow-green – is more enticing and distinct. Both the versatile shoes share the same design language. They comprise a stretch rip-stop upper, a neoprene collar, and welded PU overlays. The tongue is devoid of usual laces and features bungee elastic laces inside, while a zipper runs down the side of the tongue and around the heel.
For its durability as a camping boot, it features an eVent waterproof membrane and a rubber outsole for comfort. Since the design and functionality remain the same, your choice of color is what can make the difference between the two new offerings. You can make up your mind now. The New Balance TDS MSNB1 in both colorways is available starting today, July 2, with each costing $300.
The mind of David Delahunty is something no LLM can capture. With the speed most marketing teams would be envious of, David churns out idea after idea on his Instagram, turning brands and visual icons into fun products that creatively challenge how you look at logos, shapes, and designs. We’ve covered a bunch before, including an MS Paint-inspired makeup kit, along with this Finder icon-inspired backpack. A recurring theme in Delahunty’s collection, the Finder icon ‘finds’ itself in a new avatar this time – interlocking flipflops.
A lot of his designs lean on heavy visual puns, which make for great eye-candy on Instagram, but on rare occasions they make for great products too! Delahunty’s made MacOS Finder-inspired necklaces (which you can still buy, btw), and it’s about time that these flipflops enter the production hall of fame too. They’re fairly uncomplicated, molded as a single-piece polyurethane flip-flop, with left and right units being blue and white respectively. And no, a Latina mother throwing these at a misbehaving child wouldn’t classify as ‘Airdrop’.
When Bill Hernandez and Steve Jobs designed the original Finder icon, I doubt they realized what meme material it possessed. The icon is innately memorable, but it’s also easily reproducible as different products – Delahunty’s flipflops are a great example. The icon is split into two, making it perfect to turn into flipflops, although that weird jagged central cut is a sort of unique challenge when it comes to wearability. However, with a fair amount of planning, it’s easy to account for the fact that the flipflops aren’t entirely bilaterally symmetrical. I guess that’s the beauty about them.
Each shoe is made the same way Crocs are – molded as a single piece with no interlocking, stitching, or gluing of extra parts. This makes each flipflop incredibly strong, fairly comfortable, and long-lasting. The flipflops in question come with cutouts that depict the Finder icon’s face too, which I think is a great idea because they serve as ventilation, so your footwear doesn’t smell like death because the polyurethane isn’t particularly breathable. The cutouts are great for airing the footwear out after a day at the beach too, although try not to get sand into them through the cuts – it’s no fun dealing with gritty shoes rubbing against your feet like literal sandpaper.
Delahunty’s mind works much faster than most people’s hands, so a lot of his ideas get mocked up using AI (it’s honestly one of the best examples of AI enhancing someone’s workflow). That being said, a lot of tweaking needs to be done before these shoes hit production. If you do want to wear your love for macOS on your feet, however, give Delahunty a follow on Instagram and be sure to drop him a message!
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.
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.
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.
There’s some magic about the LEGO-Nike that makes it so special. Just in time for the holiday season and to celebrate the 30th anniversary of the Air Max 95, Nike struck a partnership with LEGO for the dope LEGO-themed Air Max 95 “Neon” sneaker. Sometime mid-year in 2025, the duo turned eyeballs with the Nike Dunk x LEGO Set and then later dropped another couple of LEGO x Nike sets for collectors.
Now, the two giants have struck another partnership to create a detailed Nike Air Max 95 x LEGO set. The original Air Max 95, designed by Sergio Lozano in 1995, famously drew inspiration from the human anatomy. The layered upper mirrors muscle fibers, the lace loops resemble ribs, and the midsole represents the spine. The silhouette remains highly sought after among sneaker collectors, and recreating a LEGO version of the shoe makes complete sense.
Comprising 1,213 pieces, the LEGO set complements the LEGO-themed Air Max 95 sneaker we talked about earlier. The signature grey gradient, Air bubbles, and the contrasting neon yellow and green inserts on the sides come to life as the LEGO set is pieced together. The brick-built model faithfully recreates the sculpted midsole and the signature wavy upper that made the original sneaker instantly recognizable. LEGO also includes a Nike-branded minifigure to reinforce the playful crossover between sneaker culture and brick-building. Once you put it together, the sneaker measures roughly 9 x 12 x 7 inches and can be displayed on the rotating stand or simply put on the prime desk spot to celebrate the brand’s success with high-top and low-top Dunk sneakers. The build also features a brick-built ‘AIR’ logo bubble, and the rotating display stand mimics the kind of pedestal sneaker collectors use to showcase prized pairs.
The co-branding on the set is apparent on the insole, and the airmax logo on the lip. LEGO has gone one step further with the minifigure being customizable, and the extra set of laces. The wide purple base mentioned earlier has hidden compartments to store the set of laces or an extra minifigure. Turn the shoe and the compartment is visible, which is a unique addition to this already intricate LEGO set. The Nike Air Max 95 LEGO set is available right away for $100 from their official website.
This collaborative effort ultimately celebrates the Air Max 95 not just as footwear but as a cultural artifact that continues to inspire new forms of creative expression. By translating the sneaker’s layered design language into LEGO bricks, the set offers collectors and sneaker enthusiasts a fresh way to engage with one of Nike’s most influential silhouettes.
No matter how you feel about Crocs, you cannot deny the brand has a remarkable talent for finding partners that make you stop and say, “wait, actually… that works.” We’ve seen Krispy Kreme clogs dripping in donut-glazed energy, Windows XP nostalgia packed into a wearable throwback, and Ghostbusters uniforms distilled down to clog form. Every time I think Crocs has peaked its collab game, another partnership resets the bar. This time, they’ve linked up with LEGO for the Creativity Clogs collection, and this one lands a little differently.
The appeal is almost embarrassingly obvious in hindsight. Both LEGO and Crocs are built around the same core philosophy: take something simple, make it endlessly customizable, and let people go wild with it. LEGO gave us the stud system; Crocs gave us Jibbitz holes. Jibbitz charms are basically a wearable LEGO build. The two brands have been spiritually aligned for decades without anyone thinking to actually put them together, and the fact that it took this long feels like a design oversight that’s now been corrected.
Designers: LEGO x Crocs
The collection spans several configurations. The base Creativity Clog starts at $79.99, keeping things relatively clean with colorful LEGO bricks along the sole and a Jibbitz-ready upper waiting to be personalized. There is also a Kids’ Creativity Clog at $59.99, because LEGO is a multigenerational brand whether anyone admits it or not.
The Masterbrand Creativity Clog at $89.99 is the one that goes all in. It arrives with 12 LEGO brick Jibbitz charms already loaded onto the upper and around the sole, plus a LEGO Minifigure tucked into the box. That detail genuinely made me smile. It is the kind of considered touch that separates a real collaboration from a brand simply slapping a logo on an existing product.
The Midnight Garden Creativity Clog takes the same design language in a different direction. Where the other colorways lean into LEGO’s signature primary palette, this version opts for a darker, more subdued aesthetic that feels almost grown-up by comparison. It is the right pick for someone who wants to quietly signal their appreciation for the collab without committing to the full crayon-box energy of the others.
Visually, these clogs strike a balance I did not expect. The brick texture runs along the sole without overtaking the whole shoe, so you are not walking around in something that looks like a toy store exploded on your feet. It is restrained enough to wear in public while still being obviously, joyfully LEGO. The Jibbitz-ready holes mean you can keep building on top of the base, swapping in dedicated LEGO charm packs depending on your mood. That is exactly the kind of open-ended customization that makes both brands tick.
The LEGO Group and Crocs announced their multi-year global partnership in January 2026, and the Creativity Clogs dropped on March 19, with LEGO Insiders getting a three-day head start. Certain sizes sold out quickly, which tells you all you need to know about the appetite for this one.
My honest read is that this collaboration is smarter than its predecessor. The original LEGO Brick Clogs were built for viral moments and display shelves. Giant foam bricks make a statement, but they do not go anywhere useful. The Creativity Clogs are the real follow-through, translating LEGO as a design language into something you would actually wear to a theme park, a farmers market, or around the house on a slow Tuesday. The playfulness is baked in without demanding you commit to a costume to participate.
That said, $89.99 for a pair of Crocs is a price point worth sitting with, even if the included Minifigure does technically sweeten the deal. Crocs collabs have always commanded a premium over the core classics, and by now the brand’s audience is accustomed to paying for the concept as much as the shoe itself. Whether the LEGO x Crocs Creativity Clog earns its place in your rotation will probably depend on how much real estate your inner kid still occupies. For a lot of people, that answer is quite a bit of space.
The Yeezy Foam Runner opened a strange and genuinely productive door in footwear design, proving that a monolithic, organically sculpted clog could capture serious cultural attention. Tati Ferrucio‘s Onda walks through that same door but ends up somewhere quite different. Where the Foam Runner borrows loosely from athletic heritage, the Onda goes fully geological, its dense flowing ridges reading more like layered sandstone strata than anything borrowed from a sportswear archive. The comparison is worth making once and then setting aside, because the Onda has its own logic and it holds together well on its own terms.
That logic starts with landscape. Ferrucio drew directly from waves, sand patterns, stone surfaces, and tree bark, treating nature as the original generative designer and asking what footwear would look like if it followed the same rules. The cutouts are sculpted voids, not punched holes, and the ribbing on the sole wraps continuously into the upper so there is no visual seam between base and body. It reads as a single carved object, the kind of thing you might find in a tide pool if tide pools produced wearable foam.
Ferrucio developed the Onda using Vizcom, an AI-assisted design platform that takes a designer’s sketch and generates a field of iterated possibilities rather than a single resolved outcome. The workflow is worth pausing on because it explains something about the result. The Onda does not look like a design that was decided in one session; it looks like a form that accumulated, the way sediment does, layer by layer under consistent pressure from the same directional force. Just FYI, Vizcom did not generate the design; Ferrucio directed it, feeding creative intention into each round of iteration and pulling the form toward her reference material until the surface stopped arguing with itself and settled into something coherent.
Positioned along the sides of the upper, the cutouts allow water and sand to escape when moving through wet or granular terrain, which is a functional requirement in a clog built for outdoor use. But structurally, they also reduce material mass without compromising the integrity of the upper, and visually, they create depth in the silhouette that a solid body would not have. The oval void near the heel is particularly well resolved; it sits inside the ribbed surface like a window cut into a canyon wall, framed by ridges on all sides, and gives the rear of the shoe a formal completeness that most clogs never bother to achieve.
Three colorways exist in the current lineup: a grey-blue that photographs like wet stone, a sand beige that almost disappears against the layered rock surfaces in the campaign imagery, and a sage green that reads somewhere between sea glass and weathered copper depending on the light. Each one is photographed in a context that suits it specifically, which is the kind of creative direction that signals a designer who thought carefully about what the object is actually communicating and to whom. The grey-blue sits on a rocky riverbed in shallow water. The beige is shot against sedimentary cliff faces in warm light. The green lands on dry sand with hard shadows. Every environment reinforces the geological reference without stating it out loud.
The Onda is a mere concept at this stage, developed in collaboration with Vizcom as a demonstration of what AI-assisted industrial design can produce when the designer maintains genuine creative authority over the process. Whether it goes into production depends on factors Ferrucio has not specified, but as a design object it makes a coherent and confident argument: that the clog format, for all its utilitarian plainness, has more formal ambition available to it than most brands have been willing to extract.
