ProductsChairsLounge chairsSofasOffice chairsChaises longuesStools & benchesSculpturesConference chairsAirport seatingStorage spaceMicro architectureDining tablesCafé tablesCoffee & side tablesDesksOffice furniture systemsConference systemsLightingClocksDecorative objectsCoat racks & wall shelvesTrays & vesselsAlexander Girard Antonio CitterioCharles & Ray Eames Barber OsgerbyGeorge NelsonHella JongeriusIsamu NoguchiJasper MorrisonJean ProuvéKonstantin GrcicRonan & Erwan BouroullecVerner PantonPanter&TourronCare & repairCare productsManufacturer warrantyNewBestsellerGift finderOffice chair finderLounge chair finderColour & materialAnagram SofaVitra CushionsInspirationsLiving roomDining roomHome OfficeChildren's roomOutdoorHome StoriesAugmented RealityColours & materialsWorkspaceFocusMeetingWorkshopClub OfficeCitizen OfficeStudio OfficeDynamic SpacesHospitalityAirportsEducationCo-WorkingHealthcareOur ClientsA case for classicsOffice chairsDancing OfficeHome StoriesAugmented Reality - bring Vitra products into your homeA case for classicsColour & materialAn open house A leading space for a leading art collegeHigh comfort of low energyAn office landscape - without walls or partitionsServicesCare & repairCare productsManufacturer warrantyFAQ and contactInstructionsInstructions for earlier productsConsulting & Planning StudioConsulting & planning in the VitraHausOutdoor care instructionsRepair, maintenance, overhaul at the Vitra Circle Store Campus ProfessionalsCAD dataProduct factsheetsCertificatesBrochuresSustainability reportInstructionsEcology informationpConPlanning examplesColour & Material LibraryCertificates and standardsTo the dealer loginOur ClientsAnagram SofaMikadoTyde 2 on castorsACXDancing OfficeOffice chairsMagazineStoriesConversationsExhibitionsDesignerProject VitraJust Do It!EVER GREENWhy the Eames La Fonda Chair was designedWhen a Sofa is more than just a Sofa: Anagram100% virgin wool – 100% recyclableAn archive is like a time capsuleVitraHaus Loft - A conversation with Sabine MarcelisWalking the talkA 1000 m2 piece of furnitureFrom a toy to an objectA studio visit with Tsuyoshi TaneThe Eames Collection at the Vitra Design MuseumAbout the partnership between Eames and VitraVitra CampusExhibitionsGuided tours & workshopsFood and drinkShoppingActivities for familiesArchitectureYour eventPlan your visitVitra Campus appCampus EventsNewsVitraHausVitra Design MuseumVitra SchaudepotVitra Circle Store CampusOudolf GartenAbout VitraSustainabilityJobs & CareersDesign processThe Original is by VitraHistory - Project Vitra
Just Do It!
Interview with Nike CDO Martin Lotti
With «Nike: Form Follows Motion» the Vitra Design Museum will present the first ever comprehensive museum exhibition about Nike, the world’s most revered sports brand. The exhibition will explore the company’s five-decade ascent from a grassroots start-up to a global phenomenon. Nike’s Chief Design Officer, Martin Lotti, who hails from Switzerland, has been a transformative force in the world of design. His tenure at Nike has seen him influence a wide range of design aspects, from innovative footwear and apparel to comprehensive brand and retail concepts.
VDM: What was your first encounter with Nike?
Martin Lotti: When I was an exchange student, my host family brought me to the Niketown in Portland. I walked into that store, then walked out of that store, completely frustrated. Everything in there, I wanted. So I sat down, counted my money. What can I afford? Then I went back into the store and bought a pair of Air Max 180s and a Jordan Wings poster. Never would I have imagined that I years later, I would get to design the next Air Max. It’s been quite the journey. Nike keeps throwing you in at the deep end of the pool. They say, ‘Just do it.’ It’s not just a slogan, it’s a way of working, a way of life.One of the biggest projects you’ve undertaken at Nike had to do with the 2012 London Olympics. What everybody remembers about that event is the rollout of Volt across the whole range of sports, that bright yellow color.
It’s a story of how to create impact with a limited set of tools. Nike was not a sponsor of the event, so we had to follow many rules and regulations. You could see this as restrictive, but I truly believe that limits force the designer to be more creative. I thought, what if we pick just one color across all federations, and use the color that is the most visible to your eye? That happens to be the color Volt. It's the same as a fluorescent safety jacket. Traditionally, the approach would’ve been to match apparel and footwear. But what if we actually use one color as a tool to unify all the federations?Looking back at your time with the company, what would you say the main drivers of change have been?
Over the past 27 years, a lot has changed. But believe it or not, it’s probably more similar than different. The methodology has really not changed throughout the years. Yes, the athletes will push you, as they push themselves. They really are at the front end. So if they’re doing it, we should be doing it, too. Even the emotional side of it: before MJ people were playing basketball, after Michael Jordan, people were living basketball. That dance between performance and emotion has always been there.Now what has changed is the tools. When I first started, we were faxing our patterns to the factories and now we can design them in 3D. Before, you were limited in time; you drew something, then you had to send it to a factory, they built it and it came back. It was quite a lot of back-and-forth, so time was a constraint. Now your only constraint is your imagination.
How do you balance digital and physical elements in your work?
The more digital you go, the more physical you have to go, too. At least that’s my opinion. I think the juxtaposition of the two worlds is interesting: if you just work digitally, at some point it really feels cold. So I think it’s going from both ends of the spectrum and then you meet in-between. It starts with a problem that you’re trying to solve, listening to the athletes, bringing cultural insight into it, getting inspired by either athletes or culture, and then envisioning it through digital and physical tools.‘I want to hear from others. I want them to tell me what they feel and see. To invite others into the design process – it’s a beautiful thing.’
Martin Lotti
One last question. How do you think designing for Nike compares with automotive design, furniture design, fashion, interior design?
I do think there are a lot of similarities. I think a good designer is a good listener. You have to serve a concept, then you design the product, and then you tell the story around it. I would venture to say that the approach is more similar than it is different. Because at the end of the day, it’s to make a functional yet emotional product to fall in love with.‘Nike: Form Follows Motion’ on view until 4 May 2025 at the Vitra Design Museum. An accompanying publication features most of the exhibits, as well as essays by scholars Sam Grawe, Adam Bradley, William Myers, Jared Dalcourt and Ligaya Salazar. The book is lavishly illustrated with around 300 historic and contemporary images, which portray design and production facilities at the Nike headquarters and the Department of Nike Archives (DNA).
Publication date: 03.10.2024
Images: 1. Installation view 'Nike: Form Follows Motion' © Vitra Design Museum, photo: Bernhard Strauss; 2. Sketch of Air Max, Tinker Hatfield, 1986 © Nike, Inc.; 3. Martin Lotti, Nike Chief Design Officer, 2024 © Nike, Inc.; 4. Documents wait to be refiled at the Department of Nike Archives (DNA), Beaverton, Oregon, 2024 © Nike, Inc., photo: Alastair Philip Wiper**; 5. Tabletop covered with objects from Frank Rudy who invented the Air Technology, Department of Nike Archives (DNA), Beaverton, Oregon, 2024 © Nike, Inc., photo: Alastair Philip Wiper**; 6. Nike shoes in the colour volt in the men’s 5000m race during the London Olympics, 2012 © Getty Images, photo: Ian MacNicol; 7. Flyknit Racer in volt yellow, 2012 © Vitra Design Museum, photo: Unruh Jones; 8. Nike Premier x Comme des Garçons, 2021 © Vitra Design Museum, photo: Unruh Jones; 9. UV oven inside the Advanced Product Creation Center (APCC), Beaverton, Oregon, 2024 © Nike, Inc., photo: Alastair Philip Wiper**; 10. Various lasts, jigs, silicon pads and fixtures, Advanced Product Creation Center (APCC), Beaverton, Oregon, 2024 © Nike, Inc., photo: Alastair Philip Wiper**; 11., 12., 13., Installation views 'Nike: Form Follows Motion' © Vitra Design Museum, photo: Bernhard Strauss