The Old Skool 36 FM launch by Vans at Milan Design Week wasn’t merely a product drop; it was a movement. Designed by Willo Perron, this installation—CHECKERED FUTURE: FREQUENCY MANIFEST—was where the essence of Vans met the cutting-edge realm of immersive sound and design.

Perron, with his extensive background in both music and design, approached the Old Skool with a unique vision. He didn’t just reimagine the shoe; he transformed it into an experience. Featuring a lofted engineered-knit upper, a componentized cupsole, and a futuristic 3D-injected TPU side stripe, the Old Skool 36 FM was as much about technical innovation as it was about aesthetic evolution.

The real magic of the installation, though, lay in how it connected these elements to music. The space at Triennale Milano became a living, breathing environment—immersed in sound, movement, and light. With live performances by Björk, Vegyn, and Evissimax, the installation created an emotional journey for visitors, with frequencies, vibrations, and waves intertwining with the visual design.

The monumental mirrored checkerboard panels framed the crowd below, turning the event into something more than just a celebration of Vans’ history. It was a look ahead—an immersive glimpse into a future where design, music, and culture aren’t isolated but intersect as a singular entity.

With the Old Skool 36 FM, Vans has once again proven its commitment to art, culture, and music. The shoe—set to release on April 11, 2025—isn’t just an evolution of an iconic design, it’s a testament to the brand’s unyielding focus on innovation and cultural relevance.

When it comes to design, balancing function and aesthetics, can you describe your process—specifically the beginning, the incipit of your journey in this field?

I’ve just never limited myself to what I was going to do. I’d follow inspiration wherever it took me. As a teenager, music was always super important to me—it was probably the first thing that truly resonated. But it was also about the culture surrounding music: the environment, the clothes, everything. I grew up skateboarding with my friends, going to hip-hop shows, and then also to house clubs. At the time, these were completely different worlds—hip-hop, skateboarding, and clubs. But there was something that united them. It was like the punk rock scene, too. Each world had its own ecosystem, and I found it fascinating to recognize the subtle differences between them. This is something that still influences my work today. Moving from brand to brand, from artist to artist, I enjoy understanding the ecology that attracts people to each one.

Is there any specific project you've done in music that you feel particularly attached to, something you'd like to highlight?

Not really. A lot of these moments are about the time they happen. The first Continental World Tour, working with Gaga, opening Barclays Arena with Jay-Z, or performing at the Super Bowl with Rihanna. These were incredible moments, like time capsules, capturing the zeitgeist. But I don't think there's one more important than the others. They're all different—each with its own place in time and space.

Can you tell us more about the project with Vans? How did it start, and what was the main inspiration behind it ?

Well, Ian, the creative director at OTW, is someone I’ve known for years. He wanted to do something special during Milan Design Week, and we started talking. They presented the shoe, and one of the key elements was that its pattern was based on sound waves and frequencies. That became the foundation of the inspiration. I thought, how do we design visuals for sound waves or frequencies? I started wondering, what does the space sound like? And if you change the size of the space, does the sound change? That was really the start of this journey.