In this exclusive interview, we got the opportunity to speak to Lorenz.OG ahead of his upcoming collaboration with Nike and atmos. Still riding off of his recent success with Liverpool legends The Block P, it was clear that Lorenzo was more focused than ever. Now, teaming up with the one and only atmos, he is ready to show the Japanese-sneakerhead exactly what they've been missing out on. We hope you're ready Tokyo.

Working with Nike and atmos for the first time brings a mix of emotions. On one hand, there’s a real sense of gratitude. I’ve had moments in Tokyo where I’ve had to stop and take it in - how did I get here? Working on an Air Max 95 with atmos in Tokyo is something I wouldn’t have believed possible five or ten years ago.

atmos has always held this almost mythical status for me. I remember seeing its collaborations when I was younger, going to events like Crepe City, long before I fully understood what it was. So now working with the two directly feels surreal.

At the same time, it also feels like a natural progression. I still feel like I have to go above and beyond to earn these opportunities, putting in the hours to prove I can genuinely add value to a product. So it’s not just one emotion - it’s a mix of gratitude, pressure, and pride. But above everything, I’m thankful for how it’s all come together.

I find it difficult to rank my own work, but in terms of releases, this is a clear standout. It sits at the very top for me, and by some distance. Not just because of the design, but because of the moment and the context around it.

Coming straight off the Liverpool drop and then having another moment so soon after, this time in Tokyo with atmos - a store with one of the richest histories in Air Max - makes it even more meaningful.

From a design perspective, I chose a process that was far more time-intensive than necessary. I had just five or six days to complete 50 pairs, and originally planned something quicker. But the more I thought about the opportunity, the more I felt I had to bring everything I could to it. For many people in Japan, this might be their first time seeing my work, so I wanted to show the full range of what I can do.

atmos trusted that vision, they provided a strong base shoe and gave me the freedom to work on it properly—something that doesn’t always happen. Often, you’re restricted from touching the more special product, but here they were fully supportive.

I wanted to transform the shoe to a point where it felt completely new—almost unrecognisable from its original form. Details like the gradient work, the Air bubble, and the Japan hit on the tongue elevate it further. For me, that’s what takes this pair to another level.

I can’t fully speak for how people receive my work, but I’ve had strong support from Japan since the beginning. Even back in 2020, I had buyers from Japan, and that’s continued across both footwear and outerwear projects.

What stands out about the Japanese consumer is their attention to detail. They’re very observational and tend to notice the smaller elements that might go overlooked elsewhere.

There’s also a clear difference in behaviour compared to the UK. In the UK, people often look for validation—something needs to be co-signed by the right voices in the culture before it’s widely accepted. That kind of recognition takes time to build, but once it’s there, momentum follows. You see that with brands like Corteiz.

In Japan, it’s different. If people see something and connect with it, that’s enough. They don’t need external validation to engage with it or to see it as high-level.

I think that’s reflected in the opportunities I’ve had recently. In the last six months, I’ve been invited to work with retailers like Beams and atmos, despite not being based in Japan. That says a lot—they’re willing to trust their own taste and back it, without needing wider approval. That’s been my experience working with Japanese stores, and it’s been incredible.

What’s next isn’t something I try to control. I leave that to God. Two months ago, I didn’t even know the atmos project was coming—it all happened very quickly.

I’m having conversations with a range of brands over the next few months, especially after the Air Max 95 release in Liverpool. A number of footwear brands have reached out, including some I haven’t worked with before.

For me, the focus now is on listening—seeing which opportunities feel right and which brands are willing to trust me creatively. I’m not interested in projects where I’m just executing someone else’s vision. I want to be able to shape the narrative and bring something meaningful to it.

I don’t know exactly what’s next, but I’m confident it’ll be something worthwhile.