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Mita Sneakers' Shigeyuki Kunii X Atmos' Hommyo Kojima: A Special Interview! The NIKE AIR MAX 95 That Changed Everything
Shigeyuki Kunii of mita sneakers and Hommyo Kojima of atmos have long been pioneers of Japan's sneaker culture. When we asked them, “What's the most impactful model you've encountered in your career?” both, as if by fate, named the same one: the NIKE AIR MAX 95. For each, it was a pivotal, life-changing shoe.
The two men came to this sneaker from completely different walks of life. So, how did the AIR MAX 95 manage to ignite such a new and unique frenzy, and how did it lay the groundwork for the industry as we know it today?
We sat down with these two titans of the sneaker world, Kunii and Kojima, to find out what exactly about the AIR MAX 95 left such a mark on them and to explore its lasting impact that continues to this day.
Contrasting Origins and the Gateway to the Hype
In the fall of 1995, as the sneaker boom escalated into a full-blown social phenomenon, the two had starkly different first encounters with the AIR MAX 95. Kunii's acquisition of the shoe wasn't for fashion, but for a purely practical purpose.At the time, Kunii preferred low-tech sneakers, but he was training to become a race car driver and needed high-tech cushioning to reduce the strain on his knees.
“The first pair I bought was a model with an Air cushion, specifically for training. My goal was to run long and slow to build endurance without stressing my knees.
I bought them without any fuss at a sporting goods store called B&D. But later, I happened to be passing by OSHMAN'S in Harajuku and saw this massive line. I went to check it out, they handed me a numbered ticket, and I somehow ended up buying another pair,” Kunii recalls.
The moment Kunii wore the AIR MAX 95, he was stunned by the novel sensation of the Air unit compressing and the feeling of being taller. He viscerally felt the world's perception of “sneakers” undergoing a seismic shift.
Meanwhile, for Kojima, then a middle school student in Saitama, the AIR MAX 95 was an unattainable holy grail—and the powerful catalyst that ignited his passion for fashion and sneakers.
“I'm from Saitama, where it wasn't easy to get your hands on cool stuff. I was part of a generation that could only see things like that in magazines. As a middle schooler, my impression was, ‘Some insane shoes just dropped.’ I went to Harajuku for the first time in my life just to see them.
That encounter was a truly formative experience. The 'AIR MAX 95' was, in a way, the shoe that got me hooked on fashion and sneakers. If I'd never found it, I doubt I'd be doing this job today,” says Kojima.
As a high school student, Kojima worked a part-time job and finally saved up enough to buy the black-and-white-striped AIR MAX 95. He learned about Michael Jordan not from sports broadcasts, but from sneaker magazines—for Kojima, sneakers were always a cultural touchstone.
It was during this time that sneakers transcended their identity as mere athletic gear, transforming into coveted items charged with the energy and hype of the streets.
A Uniquely Japanese Take and the Dawn of Collab Culture
Kunii, who launched his career in the whirlwind of the sneaker boom, eventually found himself in product planning.“After the 'UENO CITY ATTACK' project, the first SMU (Special Make-Up) I got to do under the 'mita sneakers' name was the 'AIR MAX 95' 'Neo Escape.'”
“Later, when the hybrid models were released, atmos and we each designed a pair. And when we created the ‘black-tongued prototype’ that became a huge topic, we added a city logo that combined cherry blossom petals with the word ‘UENO’,” says Kunii.
Back then, colorways that were exclusive to select US stores started flowing into Japan, and the concept of special-order models (betchu) was just beginning to emerge.
Kunii's projects, like the "Neo Escape" and the revival of the "black tongue"—a detail from the original look-see samples—captured the hearts of dedicated sneaker fans. The movement wasn't just driven by overseas brands anymore; Japanese retailers began to accelerate the trend of infusing their unique context and local flavor into sneakers.
‘Honestly, if it weren't for the models released by the OG (original) designer, Sergio Lozano, I don't think Japan's—or even the world's—sneaker culture would exist as it does today. The AIR MAX 95 has always been that iconic pair, right there with us whenever we were trying to forge new concepts in the sneaker world,’ says Shigeyuki Kunii.
Kunii's approach was groundbreaking. It wasn't just about changing color schemes; it was about digging into the past, exploring roots, and weaving them into modern products. This method pioneered the collaboration techniques that have become standard today.
The AIR MAX 95 has been re-released and updated countless times, yet it remains at the heart of the scene. Amidst this, Kojima tried to generate new value from a different angle, outside of regular product sales. He set his sights on a young, London-based custom artist named Lorenz.OG.
‘He's only in his 20s, but he can dye even the Air units. We had him come to Japan for an event, but due to trademark issues and other problems, we couldn't sell the shoes. So, we did a giveaway instead. We put winning tickets inside chocolate bar wrappers he created, and only the people who randomly got a winning ticket could receive the shoes. It was a surprise, and it was a huge hit,’ explains Hirofumi Kojima.
This activation, which bypassed normal sales channels—a so-called 'gray zone'—attracted nearly 2,000 entries and drew in enthusiastic fans from far and wide. The impact of the product customization, which successfully dyed the technically challenging Air units, proved that even a masterpiece that seemed complete still had room for new interpretations.
‘Even though it was in a 'gray zone,' the event generated a massive buzz. We had him explain his process and do a talk show, and it was a really meaningful time. It made me realize once again that there are so many different ways to enjoy the AIR MAX 95,’ says Hirofumi Kojima.
The event orchestrated by Kojima went beyond simply consuming sneakers as a product; it delivered the thrill of an experience to modern fans. It wasn't about just rehashing past legends; it was about adding a new chapter to the story alongside next-generation talent.
The Backbone of a Culture and Its Legacy for the Next Generation
Even now, more than 30 years after its release, the presence of the AIR MAX 95 hasn't faded. Its value isn't just known by the generation that experienced the original craze firsthand; it's being naturally passed down to today's youth. So, what does this model mean to the modern street scene?‘The AIR MAX 95 is what truly built the framework for concepts that are commonplace today, like collaborations, SMUs (Special Make Ups), Japan-exclusives, and sneaker boutiques. Because of that, the actions people took back then have become a source of inspiration for today, forming the very foundation of Japan's sneaker culture,’ explains Shigeyuki Kunii.
Kunii analyzes that this single shoe was the starting point for the various systems and cultural phenomena that support the sneaker industry today. Kojima also points out that the design's universal appeal allows it to adapt to the modern fashion scene. He notes that it's not just the iconic neon colorway; the more subdued, inline color schemes are gaining particular traction among today's youth.
‘Today's youth tend to prefer colors that are easier to style and blend with their outfits, as they find the 'Yellow Gradation' neon a bit too flashy. Even at our company, the love for it is being naturally passed down to the younger generation. There really aren't many models with this kind of enduring legacy. I think the AIR MAX 95 will still be around 50 years from now,’ says Hirofumi Kojima.
Kojima himself has his five-year-old son wearing kid-sized AIR MAX 95s and finds joy in seeing the shoes loved across generations. The sense of elation a child feels from the tall sole is akin to the surprise Kunii felt when he first put them on. The backbone of the culture is, without a doubt, being passed on to the next generation.
Today's youth, who are finding their own unique value in sneakers and fueling the craze, are walking a path paved by the culture their predecessors built. Even the younger generation, which aggressively pushes forward without a glance at the past, will inevitably find its way back to the "AIR MAX 95" when they eventually trace their roots.
PROFILE
Shigeyuki Kunii
Director of mita sneakers
As the director of "mita sneakers," Kunii proposes a unique sneaker style to the world from Ueno, a historic downtown district of Tokyo. He has showcased his expertise by spearheading numerous collaborations and exclusive models with countless brands. Currently, he also serves as an external director for "Herringbone Footwear," a shop in Toranomon Hills. His involvement in everything from global projects to directing domestic in-line collections makes him one of the most pivotal figures in the sneaker industry.
PROFILE
Hirofumi Kojima
Senior Director of Product and Creative at atmos
Born in Saitama Prefecture in 1981. After graduating from Bunka Fashion College, Kojima began his career in 2001 at "CHAPTER," the predecessor of "atmos." He went on to hold various positions at the company, including buyer, before taking on his current role. In a 2016 popularity poll of all-time NIKE "AIR MAX" models, the "AIR MAX 1 atmos 'Elephant'" he designed won first place worldwide. Today, sneakerheads across the globe are watching his every move.
Photo by Hiroyuki "Lily" Suzuki (StudioLog)
Text by Yasuyuki Ushijima (NO-TECH)
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