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Saucony and the New Running Culture
Following the Berlin event, we caught up with Saucony's CMO, Wendy Kula, to discuss why the brand chose Tempelhof as the backdrop for its boldest community event yet, the ever-changing shift in running culture, and how Saucony is balancing its performance heritage with an expanding presence in the fashion and lifestyle space.
I was thinking back to the crazy, crazy environment for that run, and I was curious what went into that thought process. Like, why Berlin, and why Tempelhof Airport as a location?
Wendy – I mean, the team has been cultivating that run community and that culture for almost a year. So it was actually pretty incredible for me to come and learn from the team how much time and investment and prep it took to make that event happen. I think they did a site visit pretty much 12 months prior, and they had this incredible vision of redefining what a race looked like, at an iconic spot, but still truly culturally and locally connected. Something that could feel like a race, but also then feel like a festival.
So the vision started early. And it was an ambitious, ambitious vision. But a lot of that groundwork was working with local run crews, creating that kind of cultural authentic credibility in the space. And then obviously just imagining how you create an energetic space in such a vast location too, you know. So I give the team a tremendous amount of credit for having the ambition and boldness, to think and dream big, and then the commitment to just work the city and really create the relationships that created the energy ultimately through the week and then on race day.
For me, it was so interesting having such serious runners there and then there's me, not such a runner, and everyone comes together. And I feel like 5 years ago, that would have looked very different. What do you think changed in the running landscape that's kind of got us to this point?
It honestly is so exciting for me being so passionate about the running category and the opportunities Saucony has. We’ve seen over these last couple of years, just the explosion of run culture and there's obviously still that serious edge and like wanting to push and break limits.
But you've seen, I think, just a democratization of the sport in a really awesome, powerful way, that doesn't detract from either side. It does not detract from, you know, pushing the limits of what's possible in sport and inviting people who maybe have not been part of the sport before. I look towards the consumer landscape and culturally, I do think some people talk about it as that epidemic of loneliness, the lingering effects of what COVID did to people craving community and real life experiences and things that could be done with as little as the right running shoe, and a group of people willing to come together.
So I think that the environment was ripe for the explosion of running. I do think running culture is pushing the limits of what fashion, lifestyle, apparel, footwear looks and feels like. And I think you're seeing that happen now with events like Berlin; of being able to break barriers of who's there, but see this amazing integration of a lot of different people who might have come for different reasons, but then get to have that shared experience.
Growing up I neverthought of running as a social activity, and now it kind of feels like people are chasing community just as much as performance. Like there's people that are very serious about running, but they're not worried about time. They're just worried about getting with their run group and having that social element to it.
And what I've seen too is people come for that community element, but then they do actually start to get more into the performance element of the sport. And I actually think that's what is unique about what we're trying to do at Saucony is that kind of true integration between performance and lifestyle. And we welcome people who come in more through a community or lifestyle angle or people that come in through pure performance. And then you can see that you get introduced across that spectrum to new people and experiences. But yeah, it's been pretty incredible. And I think we're just seeing the tip of the iceberg of what is possible with events like this.
It's also one of the few times, I think, where you're not with your phone. You might have Strava or something recording, but I feel like running's one of the few times you're away from your phone, which I feel like is a big part of why it's kind of resonating now.
100%. Yeah, it's funny, people are even saying that there are times where they want to even release themselves from the tracking element of it, right? Truly be free, just to run, and be present. And we talk a lot about how movement is medicine, and I think running has that to offer the next generation of our communities, and we just want to be a platform to fuel that.
We're just seeing the tip of the iceberg of what is possible with events like this.
Has the running boom changed the way you guys think about product development and storytelling?
Well, first of all, I'd say there's certainly been a running boom, no doubt, but one of the reasons I am so passionate about being here at Saucony is the absolute deep, deep heritage and almost 130 years of running innovation, and so we've never looked away from how important it is to have quality product, always push the boundaries of innovation, and always think about what's next.
So, in some ways, the running boom has caught up to our culture of innovation. But, you know, you won't see us stop. I think there's some really great stuff coming in the pipeline where we'll continue to push on the performance lens. And also continue to push the design aesthetic because I think these days the consumer's demanding that fashion, style, and performance are integrated together. So when we look at innovation, yes, it is from a performance innovation, but it's also from a design aesthetic. And it certainly enables so much more storytelling. The spectrum of how we can talk about innovation; from innovation in how we show up for communities, innovation in run experiences, innovation in product has increased.
That's what gets me excited; the word innovation probably can touch everything that we're doing in our consumer experience, from product to activations.
Do you feel like there was a conscious decision for Saucony to move into lifestyle and fashion, or did it just kind of happen naturally?
I think it happened more naturally. Fashion has been increasingly pulling inspiration from sport, and I think consumers are seeing that. And a brand like ours where we have real credibility and a point of view, it allows us that permission to be in that lifestyle conversation. Whether it's some of our retro inspired racing silhouettes or whether it's being able to now credibly have collaborations and partnerships that have a new take on performance or heritage running. I think it was a natural extension of what we had been doing, and now we see that there's even more opportunity to fuel that.
You mentioned the collaborations. I’m curious how Saucony chooses a collaborator and a partner, because it always feels so thoughtful when they do.
Yeah, well, I have to give credit to the team, and to Jason, who I think you met. For us with collaborations, I think the first is finding that authentic credibility. Even that partnership that we have with Minted, I mean, that was built over a long period of time. And so I give our brand, our team such credit to basically be looking for authenticity, looking for partnerships that can stand the test of time, and quite honestly, ones that can bring something new and exciting to the consumer. I do think we look at partnerships and collaborations like that. Like, can we offer something new to the consumer, and can we both have shared values and try to do something new and exciting?
Movement is medicine, and I think running has that to offer the next generation of our communities, and we just want to be a platform to fuel that.
As you navigate moving more into a fashion and lifestyle space, how do you keep the credibility and, I guess, keep the trust of the people that are in it purely for the sport?
Well, I think first and foremost we are 100% a sport and performance brand. Like, that is our DNA and that is our starting point. So we want to make sure that we are undeniably built in sport. And so I think that's first and foremost and having that commitment to performance and innovation I think allows the credibility and authenticity to span into fashion.
So that's kind of the first filter, you know, of course we want to push the boundaries of lifestyle, and create what's next in running culture and fashion and lifestyle. But we remember that we're a brand built in sport. And if we continue to do that and we continue to launch innovative new products that are built for performance, that can really help push that serious runner to their personal best, that will keep our foundation grounded, and I think that will allow us to have permission to play in both worlds successfully.
What excites you most about the future, both for Saucony for running in general?
For Saucony, I am just so excited that there's not another brand positioned so well to lead this next chapter and explosion in running performance and running culture. I think I'm excited to kind of build on what the team has already started, like, redoing the playbook for global experiences and race formats.
And really redefining what ‘ground up’ and ‘community led’ can mean for a brand. I say that it's super important. That relationship building and co-creating with the community and creating a platform to create what's next, that, for me, is where I feel that Saucony has authenticity, and where we can not only participate in this running boom, but quite honestly, shape what is next.
And that's what makes me super excited.
And I do think there's more innovation and disruption to happen, right? Like, what I love and what I want to continue to push the team on is to keep inventing what's next and new, and we never want to get tired of challenging ourselves and asking the community to help create what's next. Like you talked about run crews and how big they have grown. What will be next? How can we show up differently? How can we support that community? That's what I'm excited about.
But as I said earlier, we've scratched the surface. We've seen this running boom. I think Saucony can lead where it goes next, but we're gonna do that with those communities that have helped shape it.
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Beyond the World Game
Lucas Capozzi-Shanks, owner of Scenes NY — ‘THE WORLD'S LARGEST SOCCER SHOP’ Creative Director & soccer curator
Within your work or craft, what are you most excited about now?
The whole world discovering the rich soccer culture that has existed in the United States for decades, against all odds.
Which NY neighbourhood do you call home?
I live in Brooklyn now because "old" but I lived in the Lower East Side for longer than I've lived anywhere else in my life.
How long you've lived in NY?
18 years.
Favorite thing about NY?
Every day this city eats you up and spits you back out and shows you who you are.
Best coffee in NY?
An iced coffee, any time of year, doesn't matter if it's from a deli or one of the $6 spots.
Best pizza in NY?
Paulie Gee's square pepperoni slice.
Favourite NY legend or icon?
Killa Cam.
Soccer player or fan or both?
Both, for better and worse.
Favourite place to play and or watch soccer in NY?
7v7 at Cherry Street or pickup/training at Pier 40.
Who are you cheering for in the World Cup?
This time last year I was in Las Vegas and put $100 on Brazil because we had just designed our SS26 range which is all Brazil colors, so Brazil. But unfortunately I'm also a USMNT apologist.
Who do you think will win it?
Can't see anybody beating France.
Who's got the best kit this World Cup?
Whoever ultimately wins it.
Based purely on aesthetics, who's your soccer icon?
Jesa Chiro, founder & designer of Coco Cultr.
Please describe who you are, where you are from & what you do...
Hiii I am Jesa Chiro I am from Seattle and I am the founder and designer of Coco Cultr. Coco Cultr is a clothing brand which is best known for upcycling jerseys into dresses, tops and skirts. I love the idea of taking something that is a typical masculine silhouette, and reimagining it for the feminine.
Within your work or craft, what are you most excited about now?
It's been so rewarding and exciting to see people connect with the silhouettes and pieces I design and sew. This World Cup has been especially exciting and I’ve loved working with all of the different kits, colors, and team identities. Seeing people get genuinely excited to wear sportswear that feels feminine, unique, and handmade has been the most fulfilling part.
How long you've lived in NY?
4 years <33
Favorite thing about NY?
The people. I feel really grateful to live here and have the most amazing friends, family and community minutes away.
Best coffee in NY?
I don't drink coffee.
Best pizza in NY?
The pizza place is down the street from my house. Never a line, always hits and they've been playing the games which have been fun too.
Favourite NY legend or icon?
My personal NY legend is Mimi Gross. Born and raised artist in New York, started Ruckus Manhattan alongside Red Grooms. She is so talented and inspiring.
Soccer player or fan or both?
I want to claim both... But truly I'm a fan.
Favourite place to play and or watch soccer in NY?
The sports bar across the street from my house. I keep it local.
Who are you cheering for in the World Cup?
Now that there are only 2 teams I'm going for Spain <3
Who do you think will win it?
Spain.
Who's got the best kit this World Cup?
Loving the black U.S.A. jersey with the stars. I have a Coco Cultr version that's been my fav.
Based purely on aesthetics, who's your soccer icon?
Just based on style and aesthetics it would have to be Mario Balotelli.
Robbie Laing, Founder of Full Kit
Please describe who you are, where you are from & what you do...
My name is Robbie Laing, I was born in Canada, but grew up in Racine, WI. I run a project called Full Kit that creates high quality, vintage-inspired football product, primarily for musicians. (Yes I realize how hyper niche it is)
Within your work or craft, what are you most excited about now?
Two things as of late: (1) Materials - I love exploring how old football shirts were constructed and what materials they used for performance back in the day. Most of those materials you wouldn't dare wear to play in today, but they make for something unique in your closet. Manufacturing in sportswear has become so optimized today, that I feel like we lose a lot of the variety that once existed. I aspire to bring some of the craft and variety back. (2) Exploring Old Magazines - From an art direction perspective, every time I open an old soccer magazine, I find inspiration for graphics, typefaces, illustrations. I feel like the same IG moodboard fodder is recycled over and over, so looking at something analog remains incredibly refreshing.
Which NY neighbourhood do you call home?
Greenpoint.
How long you've lived in NY?
Approaching 10 years in August since I first moved here, and 9 years uninterrupted.
Favorite thing about NY?
Walking out your door and having access to anything you could ever want.
Best coffee in NY?
My favorite called Upright closed down this past year, but I've been frequenting Odd Fox before catching the G train when I have to head into the city.
Best pizza in NY?
Lucia on Canal is my go to when I'm in the city and need a quick slice or two. Their vodka grandma pepperoni and their caramelle piccanti are my favorites.
Favourite NY legend or icon?
Probably Billy Jones - The communities and spaces he fostered were truly aspirational, and they still live on today.
Soccer player or fan or both?
Both - player for nearly my whole life and Tottenham fan for just as long. My dad imparted that on me early.
Favourite place to play and or watch soccer in NY?
Love watching at Flannery's - the Tottenham pub - or at my studio 38 Meadow.
Who are you cheering for in the World Cup?
Canada and England.
Who do you think will win it?
I thought it was going to be Germany or France, but we all know how that's gone. I think Spain is the better team, but feels like it's going to be Messi's once again.
Who's got the best kit this World Cup?
I loved Germany's home kit, very classic. Sweden's home kits also up there. Japan's training range was excellent. Uruguay's away kit is beautiful - even though I wouldn't rock it myself.
Based purely on aesthetics, who's your soccer icon?
Benoit Assou-Ekotto - less about his style, more about his vibe. Mad respect for admitting that football was just a job to him.
Henry Rosenberg, artist with a World Cup show currently up at Happier Grocery gallery
Please describe who you are, where you are from & what you do...
I am Henry, I’m from New York and I'm a visual artist. My work is rooted in drawing but that manifests into different outcomes like prints and paintings too. I’m mainly concerned with storytelling and how stories are told, retold, and exaggerated and how that shapes our behaviors as characters. In a lot of my work I use humor and exaggeration to highlight aspects of narratives that I find relevant and compelling.
Within your work or craft, what are you most excited about now?
Well, after finishing graduate school in Printmaking, my studio mate Claire, who's a great painter, inspired me to try oil painting. It's been about a year since I started using oil and this show at A365 Gallery is my debut painting exhibition. I prefer to be in a beginners mindset most of the time, so approaching a big body of oil paintings was really new and playful.
Which NY neighbourhood do you call home?
The East Village.
How long you've lived in NY?
Forever besides undergrad and graduate school in Italy and Philadelphia.
Favorite thing about NY?
I’d say the variety of cultures that coexist here and the magic/collective culture that creates. Also the pace of it, the hustle mentality.
Best coffee in NY?
I like Abraco in the East Village but I’ll honestly drink anything. I love a massive coffee from wherever is convenient. Black always by the way.
Best pizza in NY?
I believe the best slice will find you and appear itself in the moment you need it most.
Favourite NY legend or icon?
He’s not a traditional New York icon, but the artist Ben Shahn is my pick. His life and work embody so much of what makes New York special. Its immigrant history, creative culture, and social engagement.
Soccer player or fan or both?
Kinda both! Soccer was the first sport I played as a little kid but now I play casually on Sundays with a club called “soccer and croissants”. I go for my friends and stay for the croissants. I heavily follow and watch AS Roma. I've been a fan since I was 13.
Favourite place to play and or watch soccer in NY?
If it’s a really important match I just watch at home with friends to really focus and experience it.
Who are you cheering for in the World Cup?
Really hard question. I want different teams to win for different reasons. But overall maybe Spain. I like an underdog though, I’m for sure going to be rooting for Haiti and Scotland as well.
Who do you think will win it?
Spain.
Who's got the best kit this World Cup?
Swiss away kit, South Korea away kit, or Norway both kits. Most of the away kits are great.
Based purely on aesthetics, who's your soccer icon?
Mario Balotelli or a young Francesco Totti.
Tancredi Bareti, owner of Balera restaurant
Please describe who you are, where you are from & what you do...
My name is Tancredi Bareti. I was born in Rimini, Italy but grew up in New York City, where I part own and run Balera, an Italian Pizzeria Ristorante, in Williamsburg.
Within your work or craft, what are you most excited about now?
Globalization has made people more knowledgable about food and given people the need to explore. More unique ideas and cuisines from around the world have never been as accessible.
Which NY neighbourhood do you call home?
I grew up in the East Village and have now lived in Clinton Hill, Brooklyn for the last ten years.
How long you've lived in NY?
My parents moved here when I was a born. Lived briefly in Italy and Miami until returning to NYC.
Favorite thing about NY?
The people. The food. The fact that I can travel around the world and experience different cultures by just hanging out around the five boroughs.
Best coffee in NY?
Smor Bakery, 787 Coffee and my little moka at home.
Best pizza in NY?
Balera without a doubt! Impasto for a quick Italian slice.
Favourite NY legend or icon?
Anthony Bourdain, the greek coffee cup, and there’s something about looking at the skyline that always makes me feel like I belong.
Soccer player or fan or both?
I play as much as possible and also follow my team religiously, Internazionale Milano.
Favourite place to play and or watch soccer in NY?
I love to play at Bushwick Inlet Park on the waterfront. McCarren Park and Pier 5 as well. Banter and Iona are my two favorite bars to watch, helps that they have a great Guinness.
Who were you cheering for in the World Cup?
The USA and Norway, because of the way they played and beat Italy in qualifying.
Who do you think will win it?
Argentina or Spain?? Spain.
Who's got the best kit this World Cup?
Japan and Mexico’s kits were beautiful. Loved the Germany retro callback with the big font and old Adidas logo.
Based purely on aesthetics, who's your soccer icon?
Roberto Baggio, anybody who could make a pony tail like that ‘in fashion’ deserves respect.
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The Erotic Thriller is Back and Better Than Ever
How did the idea for Night Nurse come to fruition, and what inspirations drew you to write the story?
The idea for Night Nurse came from a scam my grandmother nearly fell for called the "Grandparent Scam." Someone called her pretending to be my brother and told her he'd been in a terrible car accident and needed money. She went all the way to the bank to wire the money, but fortunately the bank tellers recognized it as a scam and stopped her. After that, I became fascinated by these scammers. I was struck by how theatrical their performances were, pretending to be someone else and inventing these dramatic situations. I kept thinking about whether I could turn that idea into a thriller.
At the same time, I've always loved erotic thrillers, especially David Cronenberg's Crash. One thing I admire about that film is how it eroticizes something that's not typically considered erotic. Through a similar lens, I wanted to do that with phone scams. Around the time I was writing the film, I was living in Chicago, where I kept seeing billboards advertising medical school with the slogan, "It's amazing to be needed." That phrase made me think about the compulsive side of caregiving, and it became the perfect way to connect caregiving with the scams that had happened to my grandmother.
You mention that the erotic thriller has largely disappeared from mainstream cinema, despite audiences still being fascinated by desire, obsession, and power, and it’s a bold genre to choose for your debut. Why do you think the genre lost its place, and what made now feel like the right moment to revisit it?
I think the erotic thriller largely disappeared for a couple of decades after reaching a peak in the '90s with films like In the Cut. Part of the reason may be that sex has become so available online. We live in a culture saturated with images, many of which use a kind of pseudo-eroticism to sell things, so people no longer need to go to the movies to seek that experience. To me, that's an opportunity to rethink the erotic thriller. I think the contemporary erotic thriller is characterized by much more restraint. I've often said that In the Mood for Love is one of the most erotic films ever made, even though there's essentially no sex in it. It's built on longing, yearning, fantasy, and unresolved desire. That's what interested me while making Night Nurse, and it's what continues to interest me.
The film is set in a retirement community, which is a particularly tricky setting given the erotic genre it falls into. What drew you to exploring intimacy within a space that's so rarely portrayed as erotic? What challenges did this bring along?
The retirement community is often the hook of the film because it seems like an oxymoron to pair that setting with an erotic thriller. I actually wrote the film to be shot in my grandmother's real house, and that's where we filmed it. She moved there in the 1970s, so the house still has all this '70s and '80s décor—matching wallpaper and furniture, an old landline, alongside a flat-screen television. It contains touchpoints from different eras, which creates this feeling of being unmoored in time. I think there's something deeply unsettling about not knowing exactly what time period you're in, and that feeling helped shape the film's tone. It's also an incredibly pristine suburban setting, and I find suburbia inherently unsettling. There's a long tradition of horror and thrillers exploring that alienation, and I think it was the perfect environment for this story.
I think a lot of filmmakers have trouble portraying desire in a way that's taken seriously today, especially with the rise of the digital world, where information, opinions, and internet humor spread so quickly, and Night Nurse treats desire with psychological weight rather than irony or camp. Was it important to you to reclaim the erotic thriller as a serious genre rather than something people don't always take seriously?
I was thinking about this recently because Catherine Breillat is one of the filmmakers who inspires me most. Part of what makes her films work is that they're in French, which I think is an incredibly beautiful language. I actually think it's difficult to make an erotic thriller—or even a romance—in English because English can sound awkward or corny. That was a real challenge for me.
That's one reason I admire filmmakers like David Cronenberg and Atom Egoyan. They're English-language filmmakers, but they approach these subjects with complete seriousness. While there are moments in Night Nurse that I personally find funny, I wanted the overall tone to remain serious, in the spirit of a Catherine Breillat film. I wanted audiences to sit with discomfort and see what that experience feels like.
The film has been compared to films like Body Heat, In the Cut, Crash, and Babygirl—films I'd argue remain timelessly bold. Were there any filmmakers, writers, or artists outside of cinema that shaped the inspirations of the film?
I've already mentioned many of my cinematic inspirations, so I'll talk about the score.
Stephen and Sam, our composers, created a score I'm incredibly proud of. One major inspiration was Francis Ford Coppola's The Conversation. Although it's a very different film, it uses a recurring musical theme that returns again and again. I wanted to do something similar because hearing the same melody, even as the story becomes more intense, creates this feeling that you're trapped and can't escape. I also listened to the score from 3 Women constantly while writing. It has such an unsettling, strange atmosphere that helped put me in the right headspace. It also inspired us to make the flute a central voice in our score, paired with piano.
The relationship at the center of the film may not be universally relatable, but the psychological experience behind it certainly is, particularly through its exploration of the lengths we're willing to go for love and care. What do you hope viewers take away from the darker side of those impulses?
More than anything, I hope viewers come away with the feeling of the film. It's meant to take you on a ride. It's not a moralistic film, and it's certainly not meant to represent what it's actually like to be a nurse. It's really about interpersonal relationships and the ways caregiving exists within romance, friendships, and families. It's about the compulsive side of caregiving. In many ways, the phrase from that medical school billboard—"It's amazing to be needed"—captures the entire film in one sentence.
Growing up around filmmaking inevitably gives you a close view of the industry, but every filmmaker ultimately develops their own voice. At what point did you feel like you had found yours while making Night Nurse?
Growing up in Los Angeles, it often felt like everyone wanted to work in the film industry. I studied theater in college and originally wanted to become an actress, but one of my theater professors told me I wasn't very good at acting.
Looking back, I think she really saw something in me. That pushed me toward writing and directing, where I ultimately felt much more at home.
After college, I moved to Chicago because I didn't want to return to Los Angeles right away. I wanted to find my own path and make work outside the industry. I'm grateful I did because Night Nurse became exactly the film we wanted to make. I was fortunate to have producers who supported that vision, so I never had to think about commercial expectations or what audiences might want. Ironically, I think the film connects with people precisely because I wasn't trying to force that connection.
Who are some actors or directors you’d like to work with next?
Cemre and I, who stars in Night Nurse, are both obsessed with so many actors. I'd love to work with Isabelle Huppert. I absolutely adore her and think she's remarkable. I also love Julianne Moore and Jesse Plemons. There are so many actors I'd be thrilled to work with, and I hope I'm lucky enough to cross paths with some of them.
If any, what changes would you like to see in the film industry moving forward?
I'd love to continue seeing more original films succeed. This has been a really exciting summer because we've seen original movies perform well, and I think that's incredibly encouraging for independent cinema. I hope we continue to see more funding and attention directed toward those kinds of films. Overall, I think we're moving in a very optimistic direction.
This is your debut feature, and it received significant acclaim after premiering at the Sundance Film Festival. Did making your first feature change your understanding of the kinds of stories you want to tell going forward?
I was really lucky that I got to make exactly the movie that I wanted to make. I just hope to continue having opportunities to do that. I’m interested in continuing to work within the erotic thriller genre, expanding what these films can mean, and exploring how we can make these kinds of movies within our culture right now.
