If 2026 ended today, what would be the sneaker brand of the year? It’s an often-asked question, and this year, one name keeps coming up: Vans. The 60-year-old skate brand isn’t riding a viral collaboration, nor does it have a breakthrough innovation driving the conversation. Instead, Vans has simply been making cool shit. It’s that simple.

Brands have squeezed every ounce of hype from the playbook. Sacred sneakers once worshipped for decades have been re-released; collabs have drifted from cultural moments to routine drops; and true risk-taking has been eschewed in favor of increasing shareholder value. Amidst this era of excess, Vans has reminded us of the power of a reference.

The Vans Old Skool 36 “Souvenir,” designed by Greg Betty, is a tribute to an archive Chanel bag, borrowing its aged treatment and tweed detailing while reinterpreting its graphic pins through a distinctly Vans lens. As an unofficial homage, the shoe functions as a subversive bridge between the atelier and the asphalt. There’s a world where this was an official Chanel x Vans project, targeting and resonating with a completely different consumer. And while the connection is unmistakable, there’s instead an if-you-know-you-know energy that makes it rewarding to discover — inviting appreciation through knowledge rather than price.

References sit at the core of design, yet they’re often obscured. While most designers shroud their inspirations in secrecy, Betty is an open book. A quick scroll through his Instagram reveals the thinking behind designs like the recent Old Skool 36 “Archive Flame” pack. You’ll learn that the green-and-purple pair borrows the sheen of traditional sukajan jackets, while the blue-white canvas mirrors the faded texture of a work jacket. This openness goes beyond explaining the shoe, it invites enthusiasts to appreciate the why as much as the what.

The Portland-based creative, who joined Jordan Brand a year ago, also discusses his design and creative practice on Substack. There, he’s reflected on his evolution from an industry newcomer at 10.Deep into becoming a key architect for Vans’ breakout. Regarding the latter, he shared that he explored the now-hit Pearlized series for weeks, with his peers hesitant to pursue the concept. Eventually, he designed the first sample in just six hours as a last-minute addition, and it turned out to be the exact design you see on shelves today.

While inspiration may be the starting point, the hallmark of a great designer is the ability to transform a source into something entirely new. There’s a fine line between reference and reliance — the difference between borrowing and elevating. For Betty, those early days at 10.Deep were foundational to finding this balance. “It wasn’t just about designing for a season. It was about building a narrative, an ethos, and pushing it further,” he noted in an interview with Hypebeast.

Over three and a half years at Vans, Betty helped lay the foundation for the brand’s current run — a resurgence defined not by hype, but by clarity of vision. “I’m a fan of being niche,” he added. “Not everything has to be for everyone, but there’s always an audience that will understand it.”

Even a year after his departure, his final designs will continue to release through 2026. While he remains tight-lipped about his new role at Jordan Brand, he was candid about his come-up, creative process, and early confidence in Vans’ resurgence in our wide-ranging conversation below.

How did your early experiences at 10.Deep and Kith shape the way you approach design today?

Greg Betty: 10.Deep was the first time I was really around people who came from this world. I was side-by-side with OGs who had worked on foundational brands like LRG and Rocawear. Being in that environment, I was just soaking up knowledge. It felt like school. We were a small team, so everyone had to pull their weight, and I learned quickly. One of the keys was not just how to design, but how to design within a specific language.

At the same time, 10.Deep taught me how to take references and expand on them. It wasn’t just about designing for a season. It was about building a narrative, an ethos, and pushing it further. Scott Sasso had an incredible archive, and being around that really sharpened my perspective.

Then at Kith, it became about applying that to a different consumer. Still New York, but on a different scale and with a different audience. Working closely with Ronnie Fieg — someone I still consider a mentor and brother — helped me understand the business side of design. That’s where I really honed designing with intent and holding myself to a higher standard.

Looking back at that period, are there any projects that still feel especially representative of your voice?

Early on, I was thrown into the fire, juggling Sprite, Nobu, Def Jam, and BE@RBRICK collaborations at once. That was my introduction to the pace.

A year later, seeing those pieces in the Kith fashion show was a turning point. It was the first time I saw the work I contributed to walking down a runway. That moment showed me how far design could reach and the power of a strong team. It’s never just graphics — it’s apparel, marketing, production, everything working together.

Other projects that mean a lot to me are the Biggie collection and the Black Artists Series, which I helped start. Seeing that continue after I left was huge. It’s one thing to design, it’s another to help build something that lasts.

How do you balance making something feel accessible while still embedding a level of depth?

It starts with “why.” Why are you doing this, and what does it mean for you, the consumer, and the legacy of whoever you’re collaborating with?

Then comes the homework. If I don’t know something deeply enough, I go learn it. Research is everything.

Then it’s perspective. At 10.Deep, we weren’t trying to make things for everyone, we were telling our story. With the Pokémon project, for example, we could’ve just put Pikachu on everything. Instead, we focused on the villains — Team Rocket — and explored their complexity. That gave the project more depth without losing accessibility.

At Kith, it became about honoring both sides: elevating Kith’s voice while respecting the legacy of whoever we were collaborating with. It’s about telling a story through design, not just placing logos.

Your work often pulls from deep references without feeling derivative. Where does that research process usually begin for you?

It starts with my perspective: my community and the culture I’m part of. Then it’s about figuring out how that connects to the brand I’m designing for. That balance isn’t easy — merging your own voice with a brand’s identity — but staying true to both is key.

Execution is just as important as research. You can have all the ideas in the world, but if you can’t execute them properly, it doesn’t matter. For me, it’s always been about doing the homework and delivering on the idea.

In 2023, you launched BROADCAST. What was the original intent behind the platform, and how do you see it evolving?

BROADCAST started as a more analog way to discover and experience music in an increasingly digital world. It has become a meaningful extension of my creative process, sharpening my research, curation, and concept-building. For me, it’s important for this generation of creators and designers to maintain a creative outlet outside their primary discipline, something that keeps their perspective fresh and culturally grounded. BROADCAST does that for me, and I’m committed to growing and sharing it as part of my broader creative practice.

You touched on collaboration fatigue during your conversation with Chanel about The Future of Black Fashion, highlighting the importance of shifting from collaborations to partnerships. What does a true partnership look like to you in contrast to a typical collaboration?

It’s an important conversation, especially right now. For me, it starts within. If your brand identity isn’t clear, collaborating with someone else won’t fix that. I think we need to scale things back and focus on telling our own stories first.

Partnerships should be about alignment — working with people who amplify your story, not define it for you. That’s where things feel more meaningful.

Do you think subtlety has become more powerful than overt branding right now?

Absolutely. I’m a fan of being niche. Not everything has to be for everyone, but there’s always an audience that will understand it.

With the Souvenir Old Skools, that was the mindset. It was a callback to the culture I come from — mixing streetwear and luxury references in a way that felt authentic. Growing up, I didn’t have Chanel. Crooks & Castles was my Chanel. That perspective shaped the design.

Vans has been on a strong run. From your perspective, how intentional was that momentum?

I can only speak for myself, but I was confident in the work, especially the last seasons I designed for. There was a lot of research, archive digging, and focus on honoring the brand’s legacy, especially around its 60th anniversary. I knew it would resonate. I was just excited to see how people would respond — good, bad, or otherwise.

Has seeing that success reignited any desire to return to footwear more directly?

I’ve always worked across disciplines — graphics, apparel, footwear, art direction, world-building. The goal has always been to sharpen my skillset.

I think of myself as a Swiss Army knife. What excites me most is bringing ideas to life and seeing how they resonate with the culture and community.

What’s something you wish you had understood earlier in your career that you’d pass on to young creatives now?

Everything isn’t for everyone, and you shouldn’t try to be. It’s OK to have a specific perspective. Build your own community around that. That’s what matters.

Follow Greg Betty on Substack and Instagram.