The latest collaboration between Song for the Mute and adidas Originals is an exploration of time, where heritage silhouettes meet modernist innovation in a symphony of nostalgia and contemporary cool. Aptly named “SFTM-003”, the collection revisits the iconic Country OG shoe and reimagines it in three ’90s-inspired colorways: a pale gray and teal nylon reminiscent of vintage windbreakers, and a classic black leather with suede detailing. Metallic D-ring hardware and a custom paracord-inspired toggle lacing system add a futuristic twist, creating a sense of nostalgic longing juxtaposed with cutting-edge design.
This interplay of past and present extends beyond the shoes. Creative director Lyna Ty works her modernist magic on the accompanying apparel range, creating eight pieces that speak to the future while whispering tales of the past. Sherpa fleece zip-up jackets with digitally printed sleeves and logo embroidery exude timeless charm, while distressed jersey hoodies and oversized blazers add a contemporary edge. Press-stud track pants in lightweight coated cotton bridge the gap between classic comfort and modern style, and a custom jacquard knit with intricate contrasting color-work adds a touch of luxurious texture.
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The campaign visuals, masterfully captured by photographer Atsushi “Jima” Nishijima, perfectly embody this sartorial time warp. Working with art director and stylist Stephen Mann, Jima eschews typical fashion shoot clichés. Instead, he captures youthful, candid moments of the models against urban backdrops, focusing on “in-between” moments that highlight the beauty of the unscripted. This approach resonates with the collection’s theme of nostalgia infused with modernity, where each piece tells a story that transcends time.
Adding another layer of intrigue are the theatrical period wigs by hair artist Erol Karadag. Juxtaposed against the modern cityscapes, they become silent narrators, suggesting journeys through time and underscoring the collection’s exploration of heritage and contemporary themes.
