One of those architects is Fraser Cooke. Even if you don’t perceive what exactly he does at Nike – maybe because it is a little more intangible than most 9-to-5s – we guarantee you are highly aware of the results of his work. You have probably signed up for all the raffles you could find for some of the projects he has worked on. As Global Director for Influencer Marketing and Collaborations, his contacts app may be one the most valuable assets in the sneaker industry – or rather the intuition and taste level that assemble that all-star cast of talent.

Given that he basically invented or at least defined this position, describing him as a legend and innovator within the space is by no means an understatement. He continuously shaped an approach to collaboration that raised the bar for a whole industry – and still does. Over the years, he accumulated an arguably unparalleled resume of projects. There are more low-key entries like the iconic Huarache colorways that he assembled with Mike Kopelman for Stüssy [and that recently got re-released] or a pack of Zoom FCs with the Os Gemeos for the 2006 world cup that was beautifully executed.

Later he was also instrumental in the launch of the Sabukaru favorite GYAKUSOU collection together with UNDERCOVER’s Jun Takahashi before creating one of the most pivotal collaboration moments in recent “sneaker history” with Virgil Abloh’s “The Ten” collection. He played an integral role in evolving the trajectory of collab releases from only putting exclusive sneakers in few select stores to involving different artists and fashion designers like sacai’s Chitose Abe as well - or more recently, merging both the “OG sneaker culture” era with the presence and cultural influence of global rap star in the Fragment Design x Travis Scott Air Jordan 1s. And those are just a few prominent examples.

Gifted with a plethora of talents, Fraser worked as a hairdresser and DJ, as A&R for Mo’Wax records, co-founded stores that remain influential to this day (The Hideout, FootPatrol), and wrote for iconic magazines The Face and i-D before being hired by Nike and forging collaborations for the Swoosh. He grew up in a London scene, where his passion for culture and his intellectual approach to it lead him to tour the axes between cultural capitals like New York, Tokyo, or Paris. Immersing himself in this global creative network around street culture – which at the time might have been a little more tight-knit – he made friends with other legends like Hiroshi Fujiwara, Futura, Paul Mittleman, and the International Stüssy Tribe, or Jun Takahashi.

Fraser explains that precisely those organic and longstanding relationships and friendships are the breeding ground for his work today when we met him in his current hometown Tokyo. Strolling along the Meguro River he shared some true gems with us about his personal journey in street culture, “cool jobs” and how Nike’s coveted collaborations come to life.

Having said that, it is an absolute pleasure that we are given the opportunity to interview the conductor of the collaborations orchestra, Fraser Cooke himself.

HI fraser, First of all, thank you very much for taking the time. Could you please briefly introduce yourself to our network?

My name is Fraser Cooke. I’ve officially worked for Nike for the past eighteen years or so, but the relationship extends beyond that time. Before that I was connected to the brand and worked on and off with them on various projects. In my previous life, I was working a lot with Michael Kopelman from Gimme5 in London. I’m from London originally but I now live in Tokyo. We initially had a store called Hit and Run but we changed the name to The Hideout. It started around 1997 and it was one of the first stores dealing with what has now become street style and street culture. It was a small store in SoHo. It acted as a cultural hub for a particular scene that was happening at the time. All of this stuff was very small back then.

I started working for Nike back when the whole area of discussion that we’re talking about now was still relatively underground. I work on collaborations and creative partnerships and generally sort of building connections with people in different parts of the world that are part of this creative scene. That’s what I do for my work. My work and personal interests very much blur together. I’m making a living out of something you couldn’t make a living off of when I first got into it. That’s actually a big change that I see between then and now.

Speaking of changes, you mentioned that you have been with Nike for eighteen years and counting. How have you seen Nike’s special collaboration projects approach develop over that time period?

I don’t think it’s changed that much. I can say quite openly that it’s become more resourced internally. There are more people that work on it. As I said, it was a very small thing when I started. Right at the beginning, some of the first projects that I worked on were with Mister Cartoon, Estevan Oriol, Hiroshi’s early HTM—he’d already started that before I was at Nike, so with that one I was more on the receiving end. When I first came in, I think the company wanted somebody who was part of the scene but could be within the company as a legitimate ambassador with the people out there.

It’s been a gradual process where the scale of what we’re doing is much bigger because there’s more people that are into it now. It’s spread all around the world, I would say. It’s relatively mainstream and there’s a lot of different sub-groups within it. There are more pure hardcore sneaker enthusiasts obviously, but today there are loads of people in the fashion industry that have come from more of a streetwear background. It’s also more gender nonspecific now. It was geared towards men earlier on and now it’s become more open and inclusive. I think the biggest difference is that with more people working on it, we have more specific resources to produce the product.

In terms of the actual creative process, it hasn’t really changed a lot. You obviously learn as you go along. The basic intention is to get together with people and to try and do something interesting that you wouldn’t be able to do without each other. We often go into things having an objective. We see that someone has an interest in something. For example, Jun Takahashi with running, that just made sense. We started to do Gyakusou and that’s been going on for ten years. In other cases, there can be sort of more random things that happen. The objective is to always find the most interesting person to collaborate with on something that you couldn’t otherwise achieve. The approach hasn’t really changed at all.

You mentioned that when it comes to collaborations you always try to find someone that has a particular interest. Connecting that with your hobby of DJing and music curating, do you see any parallels or similarities when it comes to that mindset of picking out the next perfect record compared to picking that next collaborative partner?

Yes! You’re still ultimately playing to what you like. Of course, you have to keep the audience interested so there has to be a balance. At the end of the day I’m working for Nike so it can’t be about what I want and what I want only. I have to understand the objective and who I’m working for. It’s just using certain parameters that guide you to make the right decisions. You’re not doing it to just work with whoever’s the coolest. There needs to be a bit more than that.

There is a similarity with DJing and doing collaborations. With DJing, you need to be in the record shops and seeing what’s out there in clubs. If you have residencies when you’re out, you get to feel what works and what doesn’t work. I can’t really tell what’s good unless I have a comparison to work against. I wouldn’t be comfortable working with things that I don’t know enough about. I want to be in a situation where I can see the surrounding environment of the topic we’re working with. I want to generate interest from the other things that they are affiliated with. I like to cross reference those coordinates to have a good sense of what might work or not. Unfortunately, it’s not really a meritocracy of just pure talent. The best design is quite subjective isn’t it? It’s much more of a bigger picture and making the decision to buy into it or not. I think there’s a lot of layers to that.

“He [Acyde] said that to be good at this stuff you have to be like the Daniel Craig James Bond. You have to be good at this one thing, but all other aspects of your life have to be a complete mess.”

— Fraser Cooke

Being in the mix of stuff, traveling, having discussions, experiencing nightlife, all of these things bring clarity to me. I have to put all of the parts together. I like to use the sports analogy since I work at Nike. It’s kind of like being a scout for young talent. However, with sports it’s more quantitative. It’s more about who scores the most goals and whatnot. This is not like that. There are different metrics though in a way that make it comparable. Sports talent scouts can go out and see talent before it’s ready, they’re able to see the potential similarly to the way we do. That’s kind of the job, I think. Listening to members of the team is the other part. The teams are very diverse and span loads of different cities. Some of these relationships can come together through the introduction of somebody who’s in Paris or London or Tokyo or Shanghai. You meet somebody and maybe it doesn’t happen immediately but they’re a part of the network so that door is open.

In order to be good at this stuff you really have to want to be around it all. It’s not a 9-5 job. There’s only a handful of people I know of from different brands that are really quite good at it because it’s their entire life. I was talking to Acyde — he works for Converse, but he used to work at Nike — and he made a really funny analogy. He said that to be good at this stuff you have to be like the Daniel Craig James Bond. You have to be good at this one thing, but all other aspects of your life have to be a complete mess. It requires a degree of immersion that you can’t achieve unless you’re only focusing on it. You need to be a bit of a nutcase. James Bond looks great from the outside, but actually—and especially in the newer films—he’s kind of falling apart. That’s probably a terrible advert for this line of work, it’s not necessarily that extreme but what I’m trying to say is that you have to have an obsessive interest in what you’re doing.

Going off of the DJing thing, we couldn’t help but notice during our research that you’re the proud owner of quite the rare sight… an Akai tape recorder system! Naturally that signals to us that you’re a true lover and connoisseur of music. We were wondering if you have a favorite tape that you’d like to share.

I’ll be honest with you. I don’t use that thing very much. The guy that designed my glasses gave it to me because I’ve got these custom speakers. I’ve used it a little bit, but I don’t really use it that much. My kid who is two now kind of destroyed the original reel that was on it. He pulled it all out. I do quite like new technology as well. I am going to use it more though. I need to get a new reel which shouldn’t be that hard to get. I tend to listen to music more from my Sony digital recorder that I tend to record a lot of the mixes from.

At the end of the day what I really listen to is stuff online that I can stream. Apple music has got some really good people on there, artists that I was into in the past that still show up now. Funnily enough I just picked up the collaboration that Virgil did with Pioneer. I was kind of interested because I still use vinyl a lot. I do play with digital CDJs and stuff though. It was quite an interesting thing to have it all in one. I don’t really have a particular mix or anything that I listen to consistently. I love the fact that you can get so much stuff digitally now. There’s a new company called Syng which was created by one of the guys that used to work for Apple and it’s a digital system that just launched. It’s almost like the future of digital audio. I'm really interested in all of it, digital and the older stuff.

It’s interesting that you actually started out as a hairdresser! We read in an interview that you said, “I don’t think they can automate hairdressing if it becomes a Mad Max world, at least you can still do it. It’s still going to be needed.” That made us wonder, is there a tangible skill that you would recommend young people to pick up?

Hmm. I’ve got to be honest; I think there’s been too much overemphasis on people doing “cool” jobs. Whatever that means. I don’t think enough people want to be electricians anymore, or do stuff that’s needed. I think there’s something cool about doing stuff with your hands. Cutting hair is creating something that exists once you’re finished. You spend forty-five minutes or so cutting somebody’s hair and once it’s done, it’s there. Nobody can dispute it. Hopefully your client is happy with it. You don’t go home after a long day of cutting hair to read emails about it. The haircut is done. Too many people are interested in doing jobs to make themselves seem cooler. I hope that there are people in this world that want to do the things that society actually needs.

Of course, that changes over time with technology but I do have a lot of respect for people that do things that we need. It’s good to have skills that are useful beyond all of this frivolous stuff. I don’t want to discourage people from doing what they are passionate about. I wasn’t able to do what I wanted to at that time without having to go through all of these other things. There wasn’t a structure existing where I could do what I do now. Nowadays there’s a clearer path for people to get from point A to point B. But yeah, I think there’s something really nice about people taking pride in crafting something.

“Too many people are interested in doing jobs to make themselves seem cooler. I hope that there are people in this world that want to do the things that society actually needs.”

— Fraser Cooke

What are some qualities that you look for in potential partners with Nike?

We look for people who are doing something interesting that we have a synergy with. They usually have an interest in sport, that doesn’t mean they have to be an elite athlete or anything like that. They are innovators in some way, shape, or form. Often there are people that I consider working with that just need the right timing. Jun was a good example because we wanted to work with him before he started running and then when he did running stuff it just all fell into place. We did an abstract take on city running.

With somebody like Matthew Williams, we started working with him on training product. He’s really into training, yoga, meditation, and wellness. All of that. He already does fashion himself, so we didn’t want to duplicate exactly what he’s trying to do. With Sacai, we wanted to bring something interesting and abstract by playing with sports silhouettes for female consumers initially. Chitose Abe has been a good choice because it’s gotten better and better the more we work with her. The decision-making process comes down to seeing the potential in something. Timing is also important. What we’ve done with Virgil that just got showcased through the Louis Vuitton show, the Air Force Ones, next year is the anniversary of that shoe. That’s not the first time he’s worked on that silhouette. There are all sorts of considerations. Wanting to work with people from all over the world is another consideration. Working with someone like G-Dragon is interesting. He’s quite influential in Korea. Although his background is K-Pop, he’s not the typical manufactured K-Pop star. He’s got his own unique and eccentric take on stuff. Nike is a global brand and we try to reflect that in the diversity of the people that we work with.

Nike’s such a master of balancing big blockbuster partnerships with the likes of Virgil, but also picking up very local and lowkey players. How would you say the energy changes depending on the partner, and how does the cultural storytelling approach differ?

Virgil’s almost as big as you can get in that world. Travis Scott is probably on the same level, but he’s an entertainer. You also have people and brands like Cactus Plant Flea Market. There’s only one picture of her that exists online. It’s amazing that she’s managed to do that! She’s styled for Pharrell and done stuff for Nigo! She’s in all of these situations but somehow manages to stay lowkey. We don’t do big volumes with her, but she has a cult following. The storytelling with her is quite playful and fun and it reflects her quirky character. I can tell you that in the area that I work, we are not focused on volume and revenues and things like that. It’s not our job. We are there to do interesting things and push them. The creative exercise or cultural authenticity is the driver. If they get big, they get big.

With Virgil it always gets big. He’s still disrupting things in his own way. For example, the things that he’s doing with Louis Vuitton such as skate aren’t expected from or perhaps considered typically authentic to Louis Vuitton. It’s authentic to him and whatever it is, it’s almost like an abstract art project because it doesn’t make any sense in terms of what you expect those things to be. Going back to answer your question, it also depends on the comfort level of the person you’re working with. Nike is big and anything we put out generally will be very visible. We’ve worked with many people. We’ve worked with the likes of Ricardo Tisci when he was at Givenchy. Within his world, he’s very big. He was a bit shocked when we put the Nike stuff out because it brought him attention that was way beyond what he was used to. Even though he’s worked with the Kardashians and Kanye and he did Watch the Throne, it still was bigger, you know? Knowing that we can play with different platforms and different ways of talking about stuff. It’s important for us to keep doing that and to keep working with interesting people that have potential power on their turf as well as people on the global stage. It’s finding that balance. That’s what we’re trying to do right now.

“I can tell you that in the area that I work, we don’t do loads of volume and revenues and things like that. We don’t have that. It’s not our job.

We are there to do interesting things and push them.

If they get big, they get big.”

- Fraser Cooke

I think making sure we keep the balance of working at global and local scales is super important. The space has grown so the volume has grown but it’s always a healthy balance. We always try to find the new. You want to put that icing on top of the cake. However, you also have to make sure that the partner is comfortable with our role in their area. Someone like Virgil is quite comfortable. I think he wants to be accessible, which is nice as well. You don’t want to frustrate people. Obviously with digital platforms you can track all of this stuff. It’s a different world than it was a few years ago. You want to make sure that you’re bringing the partner along with you. It’s not a one-way thing. It’s good to stretch their reach into somewhere they wouldn’t go. There’s a certain point though where if it’s too accessible to everybody, you kind of lose the interest of the target demographic. There’s always that “I don’t want to be the same as everybody else.”

Your line of work definitely requires you to communicate and converse with all sorts of different types of people. Sorry if this is a bit cliche, but would you say your time as a hairdresser helped you master the art of conversation?

It probably did help. I had to talk to random people every day. I always served that role anyway. When I worked at The Hideout, Michael was in the office and I was in the store. I was one of the faces of the store. I’m a very approachable person so that sort of worked out as a good balance. It would be hard to be a hairdresser or something if you made people feel uncomfortable. At the end of the day, I don’t create anything myself. I’m just part of a process. I’m part of a bigger team. I see the potential to put things together. The DJ thing’s a good reference because I don’t make the music. I see what’s good and put it together, but it’s not about me.

Going back to subcultures and street cultures, do you see any movements out there right now that you think have the potential to grow and emerge in the mainstream? Kind of like how skate culture became mainstream?

I’ve got to be honest I don’t see anything out there that’s entirely new. Most of the stuff that’s been interesting for me personally and my generation is the new equipment and technology that allowed people to do something that didn’t exist before. Musically it was sampling or drum machines. The stuff that’s been new is subcultures revolving around computers. That’s why I think somebody like Virgil is really interesting because he’s mastered the platforms of the current generation. The references of now are like references of references of references of references.

That’s always been the case, everything’s inspired by something but in this day and age things move so quickly. Since I’m older I can kind of see where things come from. As long as it’s done in an interesting way, I’m with it. I think there are so many creative people out there all of the time. It’s not like there are any less creative people at a particular given time. That doesn’t make sense. It all just depends on how culture gets consumed nowadays. I’m just not seeing anything today that’s wildly different to what I’ve seen in the past. When hip-hop came along, that was something truly revolutionary. I don’t see anything that has the potential to do that right now.

Would you say that there has been a change to the way that subcultures and clothing have traditionally worked together?

Yes. I do. I think that people have so much knowledge now. If you decide you want to become a designer there’s very clear steps to do that. In the past it was harder to find out about things. Now, it’s the reverse to some extent. Previous generations were a lot more naive. People were adopting certain styles as an expression of their belonging. Now it’s more of a possibly less rooted expression to one subcultural movement, it’s more a costume. People like to experiment with different styles instead of being just one thing. If you had a short haircut and wore an MA1 jacket, a pair of Levi’s, and Doc Martens back then you would’ve been labeled as a skinhead. Your clothing represented a solid movement that had a way of speaking, a genre of music, and a lifestyle attached to it. Now that’s not so much the case anymore. Things have changed for sure.

“People were adopting certain styles as an expression of their belonging.
Now it’s more of a possibly less rooted expression to one subcultural movement,
it’s more a costume.”

- Fraser Cooke

Streetwear is obviously a term that gets thrown around a lot more nowadays. It describes a variety of things but also nothing at the same time. Do you think the reason for this change is because streetwear is more of an umbrella term?

I think it’s a journalistic device that helped people differentiate what was considered “high fashion” and what wasn’t. Streetwear is a procreation of things that were from something else. Before fashion was involved, Nike and other brands were making and still are making products directly geared for sports. People were adopting those. Another example is people wearing Carhartt jackets in New York that construction workers would wear but baggy in a hip-hop style. North Face jackets being worn in big urban cities during the winter. Obviously there’s the functionality aspect but it also looks cool. Timberlands as well. They were worn by lumberjacks, the gay community, and hip-hop fans. A very functional shoe. This was all a while ago though. It’s hard to imagine what you can take and recontextualize. It seems like everything’s been done. This process has been happening for like the past 40 years or so.

I was watching that docuseries 1971 on Amazon about all of the stuff that happened culturally during that one specific year. It’s really good! You wouldn’t believe how much that year changed everything. The thing that struck me was how influential the musicians were. They really wanted to change the world. Now it’s different, I think that people want to change the world for their own groups. I noticed that in that documentary it was previous to all of the stuff that we’re talking about. Now everything is in the context of being consumed. The intention of a lot of what’s being made nowadays is different to what I’m trying to do.

We read that you were a part of setting up Nike’s Tier-0 system. Considering your retail background, you were woven into the first sneaker boutique retail spaces. What are your thoughts on the current state of sneaker retail and where do you see its future?

That’s a good question. I was just thinking about this the other day. One of the reasons I was hired by Nike was because they could see that sneaker boutiques were becoming relevant. In the same year that we opened FootPatrol, Alife opened in New York, Undefeated opened, and Atmos had just opened in Japan. It was all happening around the same time. I think it was a reaction to our hip-hop inspired love for sneakers. The stores surrounding sneakers that existed prior to that revolved around the Footlocker type of model. When I came to Nike it was my intention to create more of a recognition of our model. We had a small grassroots network of solid people that love sneakers. Myself, and a couple of other people, helped begin that process and I was very close to it for a very long time because it remained relatively small.

You get a tremendous amount of feedback linking up with those accounts a couple of times a year because they’re on the ground. As I got more into Nike, I got further and further away from standing in a store all day and hearing what people were saying. It came back to me the other day because I was given an early copy of a documentary that Patta had done. I watched it and I know the guys and they started around the same time as me, really. I started going to New York in 1989. I would go to Brooklyn, buy shoes, and then bring them back and resell them in London. They went through their genesis and started a store called Precinct which was a bit more sophisticated. They got Japanese brands and it didn’t really work very well. We had already tried it in London which was an even easier place to do it than Amsterdam.

Everybody has to try something to learn. They’ve sort of come full circle. There’s something very important about those people still being around. They form the most pure and passionate core and foundation for all of this stuff. Not just them, there’s all sorts of people like that around. Maybe for myself, I’ve been exposed to all of these things. I’ve been interested in the hybridization of different stuff. I like the more abstract end of stuff. In that documentary, it took me back to the fact that what they did was the core of it. I think it’s always good to recognize that. Actually, at the moment, I think that’s an area that we always have to stay aware of. We at Nike have to stay true to it. You have to make sure that this core passionate community is being considered and included while embracing the new expressions of passion for sneakers and subculture too. You need to do both, really.

You’ve lived in Japan for quite some time now. How has the country impacted your decision-making process and approach to projects?

It’s really hard to say to be quite honest with you. I’ve got no way of knowing how living here in particular affects it in comparison to me being in England or something. I would say that what’s good about being here is being a little bit removed from stuff. I don’t speak Japanese in any kind of reasonable way. I don’t really know what’s going on around me when people are talking. I also think Tokyo’s a good place to come in and out of—apart from the past eighteen months. I think there’s an attention to detail and a way of filtering things with impeccable taste. That has probably helped. I’ve lived in Portland, I’ve worked at WHQ, I think it’s helpful to be a little bit on the edge of the bubble. I think those are the main impacts that Japan has had on my work.

We read that on your first trip to Japan, you met Jun Takahashi and you later stayed at his house. Next door was Michael Kopelman’s thing at Hiroshi’s crib. Can you take us back to that OG London-Tokyo street culture dynamic? What were the topics you were discussing?

I met all these people through Michael basically. Michael was very friendly with Hiroshi. Michael was someone I knew in London years before I worked with him. I was working on overseas distribution from the US and he was doing Stussy, but he was also very interested in Japanese stuff. He met Hiroshi through being at Camden market looking for records. He saw Hiroshi was looking at the same record and they struck up a conversation. Growing up in London and being a part of the London scene, there has always been a Tokyo-London-New York mish mash. What happened with Malcolm McLaren and Duck Rock bringing hip-hop from New York to London really resonated with people from Japan who came to London a lot back then. There were lots of bits that I would see through i-D Magazine or through people in clubs.

People that I met who I thought were cool went to Japan a lot which was quite alluring since it was so far away. I finally got to come here and be with probably the most connected person outside of Japan. It was all still really small back then. We were doing the store and I came here as a buyer. The first time I came it was to buy A Bathing Ape I think. We already were doing it. Michael had a UK version that he was producing since it was so expensive to bring all of the stuff over. Jun had a show that only featured English models. Before it happened in Paris, it was here. I came over with Hitomi who still works with Gimme5. It was an interesting first trip. I stayed at Jun’s house after that first trip. Michael would stay at Hiroshi’s because Jun and Hiroshi lived in the same building. They were next door neighbors. We were all into similar enough stuff.

The Japanese guys were more extreme Otaku into some of the stuff they were interested in. Jun was into this crazy Star Wars prototype stuff. Those guys collected old Vivienne Westwood McLaren gear. Our conversations were just discovering all this new stuff. That Harajuku scene was relatively fresh and new. All of those brands were affiliated one way or another. They were all spaced very close to one another in Harajuku. They would all help each other and support each other. They all came from the similar skateboarding/hip-hop background as me. For us, coming here was more like entering a bigger arena. In the UK, it was definitely a smaller scene. I was a part of that Mo’Wax thing which was bringing some of it through with James Lavelle. On the other side in the US, that was the origin of where a lot of it had come from whether it was Stash or Futura, those guys I knew and were hugely groundbreaking and influential in many ways too. Japan had kind of put it all together in such a refined way. We were excited to bring some of that back to London and do projects with those people. We didn’t really have money in mind, it was all out of passion. We are lucky to be able to make enough money to support this passion.

There are so many kids out there that are trying to kick start their streetwear career. Any words of advice for them?

Stay with what keeps you inspired. Try and get close with what you think is inspiring you. It’s easier said than done because there are so many people that don’t even know where to start. If you can get together with like-minded people around you, that’s a bonus. At the end of the day it’s kind of a DIY culture. Follow your gut passion, don’t expect it to happen overnight. It helps to have direction and intention. I don’t think I really had that myself. It wasn’t so clear that you could make it happen. Just try to immerse yourself in it as much as possible. There’s more power in a group. Try and bring something to the table that’s interesting. If you can go beyond being a consumer or an observer that’s what you should be aiming towards. It’s not easy. Someone like Stephane Ashpool from Pigalle has been around for a while doing cool stuff. I just love the fact that they’re doing stuff in their own city. Without a doubt it’s positively impacted many people in their orbit. I think that’s what is important. Start local and do something to get noticed.

“At the end of the day it’s kind of a DIY culture.
Follow your gut passion, don’t expect it to happen overnight.
[…]
There’s more power in a group.”

- Fraser Cooke

Thats a beautiful way to round up this interview. Thank you very much for your time, Fraser!

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Words by Moritz Lux
Interview by Moritz Lux, Adrian Bianco and Natsuki Ludwig
Imagery by Natsuki Ludwig