Staying true to the goals of the initiative, Nike Re-Creation and Defective Garments have upcycled their own project, producing a freshly reworked collection of Nike pieces for the world to enjoy.
Like any good reunion, the collection highlights DG’s ability to treat the sewing machine like a brush, thread, as paint, and forgotten clothes and textiles as a canvas to paint one-of-a-kind pieces of wearable, skeletal art.
However, this follow-up also speaks to the awareness that Christine La, and her team over at Nike Sustainable Apparel have for local production with the goal of countering global mass manufacturing. With the first collection serving as proof of concept, this next step only strengthens the call to action for our industry to find alternative methods to produce meaningful, intentional clothing meant to be worn and re-worn, time and time again.
To get a pulse on what we can expect from the drop while delving deeper into the world of Re-Creation, we spoke with Christine and Zac as part of our latest In Conversation With feature.
Bodega: Christine, how is the Re-Creation Program leading the way within Nike and across the clothing industry?
Christine: Re-Creation is distinctive by starting and ending locally. We’re not only aiming to minimize our footprint but trying out new business models with our local partners. A good example is how we are working with independent designers like Zac and amplifying their creativity. Applying local craft is creating products that highlight both sustainability and local co-creation. We’ve harnessed that power to pioneer the Re-Creation Program. Through this program, we hope to open up this local infrastructure to other Nike dimensions beyond Re-Creation.
Bodega: The reception from the first Re-Creation project sets a new precedent for what product creation can look like, what did your team learn after that collection and how did you incorporate it into this upcoming release?
Christine: We’re rapidly learning as we go and essentially building and refining new design processes. A big unlock from the last Bodega collection is tapping into our own material archives to create innovation. We know Zac can create amazing work out of vintage Nike product, but what happens if we give him exploratory concept materials that have yet to be released? Along this line, we also brought in more advanced methods of making such as laser cutting that’s typically applied to on-field uniforms.
It’s incredibly exciting to see where this mix and juxtaposition of vintage and future concepts and handcraft and machinery will take us in this collection. Zac is like our Mad Scientist resurrecting our deadstock just in time for Halloween and I think the theme for this collection can speak for itself.
Bodega: Zac, can you walk us through your inspiration and process this time around? What did you want to accomplish - or build on from collection your last collection at Bodega?
DG: For this collection my primary focus was utilizing Nike’s Forward material and trying to build a concept around that. I pitched the idea shortly after the last collection and here we are!
I like to look back at designs I’ve done in the past for inspiration which is what landed me on the ribcage. Typically I use tapestry material and or chainstitch the ribcage directly on the garment. We took the chain stitch design aspect and used that to create a print on some of the products. We replaced the tapestry with Nike’s Forward material to create cut-out ribcages that were individually sewn on.
My process is definitely not structured. When making these collections I usually work piece by piece. My studio is set up with a rack of assorted sweatshirts and I just pull from there on what I think will look good together. Factors that go into making a piece for this collection are making sure there is some sort of color flow and the fit is right. I guess the key is to have your inspiration in front of you.
Random example but for the shorts I created, I used Nike sweatpants. The excess leg fabric left over from making shorts is what I used to create the sleeves on some of the sweatshirts/hoodies. The excess sleeves left over from that sweatshirt would be used on another piece. It’s a nice chain effect that gives me a wider array of colors to use.
Bodega: So you’re even re-working the re-works, that’s dedication. You just mentioned your studio - I’m sure people will want to know - how important is the atmosphere of that space? Is there anything you do to help get dialed in?
DG: The atmosphere is super important. I’m a big nighttime worker so lighting in my workshop is key. I always have a background movie going as well.
I think what’s really important is writing down your ideas instead of trying to execute everything on the spot. That way you can always look back for reference on days you can’t think of what to do.
Bodega: Back to the collection overall, what do you hope people take from it?
DG: Hard to put into words but I guess overall I don’t want people to view it as just another collection with ribcages/bones. I really tried to focus on color blocking first and the ribcage/bones second. Overall though I really enjoyed making this collection, it’s not the craziest stuff I’ve done but definitely my favorite.
Bodega: You’re obviously no stranger to working with Nike products but what has it been like continuing to work with Nike in an official capacity?
DG: It’s been dope! I’m definitely living out my dream of being able to work with Nike.
Bodega: Christine We’ll throw it back your way, what has it been like working with Zac - has he inspired you and your team in any way?
Christine: In the Re-Creation world from procuring feedstock to the manufacturing process, there are still many unknown variables to iron out from one collection to the next. Zac has been a constant force to partner with. He’s looking at every detail working with defective / deadstock materials and that level of creative scrutiny and master craft comes through in every piece.
I think it’s safe to say we all have some old clothing that we’ll never get to wear again, whether it’s because the fit is outdated, there’s a random hole, etc. Defective Garments pieces show us the possibilities of creating new products from stuff we all more or less have deep in our closets. To think, with some creativity, we all have the potential to make something really special to keep forever instead of simply throwing something out. What’s more inspiring than that?
Bodega: Central to your work, in addition to the creative challenges of working with second-hand materials, is of course the environmental impact of choosing to upcycle existing products. How is Nike Re-Creation providing the groundwork to do this concept justice?
DG: The Re-Creation team is on it when it comes to bringing ideas to life. The mission is always how can we do this in the most sustainable way. One of the coolest things they’ve done is intercept returned/damaged products and store them so that we are able to create new products with garments that would have been discarded.
Also allowing us to do these activations at one-of-a-kind stores like Bodega is dope on its own. Being able to display my pieces in the environment you all have created at the store is awesome.
Bodega: Why is it important to embrace reworked clothing - even if it has/ once had stains, holes, or even fades?
DG: Everyone loves a good fade haha but I think it just adds to the individuality of the piece. I mean, of course, there is an excess that is unacceptable but a majority of pieces can still be worn.
It can even be a simple fix such as flipping the sweatshirt inside out and now you have a clear pallet.
Bodega: Even since the last time we spoke, it seems like the movement towards second-hand clothing amongst younger generations has grown exponentially, how do Defective Garments and Nike Re-Creation fit into this larger movement?
DG: With Nike being such a big brand it’s important for teams like the Re-Creation team to create the forefront for what Nike’s sustainability is going to look like in the future. Partnering with smaller creators is huge, especially for myself and others they have teamed up with like Greater Goods and Transnomadica.
Christine: I think the younger generations are environmentally conscious of the downstream effects of fast fashion and consumption. At Nike’s scale, there’s a responsibility to consider the complete solution inclusive of how product is sourced, made, used, returned, reused, and ultimately reimagined as something new.
Bodega: To close things out, what is next for DG and Nike Re-Creation?
DG: Lots of hopes for the Re-Creation partnership haha but my primary focus is just proving myself with each collection and my delivery. Honestly having worldwide pop-ups would be wild, with bigger product SKU while also still bringing that 1 of 1 aspect. Collaborating with other artists as well would be neat.
Christine: We’ve got some incredible co-creators lined up for future collections. As with Defective Garments, all have a unique gift and distinct approach to upcycling and sustainability So please be on the lookout in the coming months for the next Re-Creation launch.
