research by the sociologist Yuniya kawamura on sneakers defines three waves of the phenomenon . The first wave in the 1970s was defined by an underground sneaker culture and the emergence of hip-hop . Adidas ’ samba design , as a key example , became a key part of terrace fashion within football fan subculture . in 1986 , run-DmC released the song my Adidas , leading to a sponsorship deal with the brand . This forged the sneaker ’ s deeprooted place in popular culture .
The second wave of the phenomenon began in 1984 with the launch of nike Air Jordans . This gave rise to the commodification of sneakers and their desirability as status items , fuelled through celebrity endorsements . for kawamura the third wave is marked by the digital age and the resulting growth in sneaker marketing and resell culture .
The global sneaker resale market was valued at Us $ 6 billion (£ 4.6 billion ) in 2019 and is forecast to be worth Us $ 30 billion (£ 21 billion ) by 2030 .
The growing presence of “ sneakerheads ” who collect and trade sneakers have ensured that they maintain cult status . nike and Adidas routinely release limited editions shoes associated with a celebrity , hip-hop star or athlete .
it is not unusual for people to go to extreme lengths to get their hands on these rare models , queuing through the night . Examples include nike Air Yeezy 2 “ red october ”, and Air Jordan x 1 off-White “ Chicago ”.
These shoes have a retail value of Us $ 190 to Us $ 240 (£ 135 to £ 170 ) and are reselling for between Us $ 1,695 and Us $ 6,118 (£ 1,202 and £ 4,339 ). The lucrative sneaker resale market has created a new cult of sneaker enthusiasts who through entrepreneurial spirit are generating significant hype along with personal income .
from sport to fashion , sneakers dominate the consumer market . Yet , despite their adoption by the mainstream , sneakers retain their coolness as cultural icons .
Article provided courtesy of The Conversation . 87