Published
Reading Time
2 Min Read
The Superstar is one of those shoes that doesn't need to explain itself. Fifty-five years deep and it's still the one every generation ends up wearing, even if they think they discovered it themselves.
Samuel L. Jackson gets that. He's not a spokesperson here, he's a narrator. The campaign built around him, shot inside the surreal corridors of Hotel Superstar by Thibaut Grevet, works precisely because it doesn't try too hard. Jackson wanders through a place where time doesn't apply, opening doors onto Lamine Yamal, Jennie, Kendall Jenner, James Harden, Baby Keem, Tyshawn Jones and Olivia Dean. Each one in Superstars. Each one exactly themselves.
Superstar | adidas Originals
It is a cinematic thing. Grevet's background is in image-making that blurs the line between documentary and fiction, and that sensibility sits perfectly here. Nothing about the film feels like an advert, which is perhaps the point. The Superstar has always worked that way. It left the basketball court in the 70s and landed on the feet of every subculture that followed. Hip-hop. Punk. Skate. It didn't chase any of them. They came to it.
For Spring 2026, the apparel plays a similar game. Familiar silhouettes, tracksuit shapes and jersey textures, but with a cleanliness that feels current rather than nostalgic. The red, black and white colour blocking is sharp. The women's range is the more interesting story, a track jacket reimagined in faux leather, another in crochet, the kind of moves that make sports heritage feel genuinely relevant to fashion rather than borrowed from it.
The shoe itself remains unchanged. It doesn't need to change. That shell toe has carried more cultural weight than most things designed to last a season, and it knows it.
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