Air Max 97 Ultra 17
Nike and Skepta take the Air Max 97 to Marrakesh
- Nike x Skepta
- Metallic Sulfur-Rose Gold Upper
- Black Woven Mesh Ridge Gaps with Honeycomb Pattern Underlay
- Welded Swoosh on Mudguard
- Full Length Air Unit with Orange Tint
- Nike TN Tongue Badge
- Black Midsole
Built in celebration of the vibrancy of Marrakesh, Morocco, Skepta & Nike wrap the Air Max 97 in an iridescent metallic sulfur-rose gold blend. The waved leather ridge portion of the upper is polyurethane-coated, with the woven mesh breaks dressed in a deep black with a honeycomb pattern underlay. The embroidered Swoosh that is normally present in the mesh mudguard portion of the sidewall, is replaced by a high-frequency welded version in yellow-gold. The midsole arrives in black, with the full length unit that houses Nike's signature Air bubbles taking on an orange tint. The tongue features Nike badges that characterise the Tuned Air series, part of the first shoe silhouette that Skepta saved up for to purchase.
Silhouette Explored — History
Designed by Christian Tresser. A silhouette very much ahead of its time, the 97 is divisive with its fair share of critics, it took awhile before people caught on and could fully appreciate the qualities of the 97, but the 97 now holds a place of reverence within the sneaker community. The signature chrome waves that make up the 97 are derived from capillary waves, the ripple observed in water when movement occurs, the layers were actually similar to the gradient effect present in the Air Max 95 but are more pronounced. The lines in between each layer are 3M providing a glistening effect for the wearer. The never-seen before full-length Air cushioning unit in the midsole was an evolution of both the Air Max 180 and the Air Max 93. Whilst the concealed lacing system was up there with the Puma DISC system & the InstaPump Fury, as transformative shoe fastening systems. Tresser referenced Mountain bike construction as the inspiration behind the material construction, with the metallic hues a consistent theme in Tresser's work for Nike (Air Zoom Spiridon, R9 Mercurial). A number of people know the 97 in relation to the Silver Bullet train, a reflection of the 97's sleek curved form and projectile presence. Unlike other Nike models, the 97 features reductive branding, with a small embroidered Swoosh present on a panel on both the medial and lateral sidewall above the midsole.
The 97 entered in a period just before the new millennium, with society obsessed with the prospect of the future, particularly with visual presentation and new visual mediums, the Air Max 97 reflected this. In major Italian cities such as Milan & Rome the shoe has become somewhat of a cultural icon, with several sources providing contradictory reasoning - the 97 became a favourite of graffiti crews in Rome & Milan, whilst other accounts suggest they appeared on the '98 Giorgio Armani runway or cite their popularity as a consequence of Neapolitan nightlife. Regardless of the reasoning the silhouette is very much Italy's sneaker of choice, with it gaining the nickname 'La Silver'.