For the FW22 collection, the paths of Enterprise Japan crossed with those of Blanco, testimonial of the new advertising campaign. Authenticity, spontaneity and talent have kept millions of fans glued to the screens today: from “Brividi” of Sanremo to the energy of Eurovision, to the huge crowd of fans at his concerts. The singer-songwriter Blanco, despite his very young age, has already amply demonstrated what he's worth. It was exactly what we were looking for to express the essence of the autumn-winter 2022 collection. To cause surprising creative collisions and let them overwhelm us. The originality and the vitality he releases, have been captured by the lens of Giampaolo Sgura in the new campaign that could not fail to be Black & White. In perfect synergy with Enterprise Japan's DNA. Enterprise Japan. We are all made of stars.

Space Custom VOL. 1 has been our first workshop designed for full immersion in the creative magma of Streetwear culture: an unprecedented experience that has given life to new creative collisions between artists/customers from the world of sneakers. On 29 July, an artists crew and sneakers specialist met up in Civitanova Marche Headquarters and put all their talent into play to interpret Enterprise Japan sneakers and clothing in a unique way. A day in which creatives and specialized technicians sat side by side, combining their skills in an extraordinary full immersion. The special items born from the first chapter of Space Custom have become totally one-off pieces, that can be purchased on this platform.

There is a book called To-ky-oo. A dark and at the same time blinding cover. It shows a Japanese street, with its neon lights and colorful signs. LIAM WONG's striking and extraordinary color photographs collected in this volume tell a story of a contemporary yet futuristic Tokyo. “I lost myself in the beauty of Tokyo at night”, explains the author. A Tokyo that is a place of inspiration capable of challenging our imagination. Born and raised in Edinburgh, Scotland, Wong studied computer science in college and, at the age of twenty-five, began working in Canada as a director at one of the world's leading video game companies. Then his profession took him to Japan for the first time, where he discovered the bewitching and frightening charm of the metropolis' night scenes. It was love at first sight.

Masamichi Katayama or projects that rattle inside you. When it comes to Masamichi Katayama aka Wonderwall, superlatives are never enough. The specialized press writes that his projects know how to touch the soul and differ from anything else a person might encounter. Because Masamichi Katayama works on intuition, making sensations emerge directly from our unconscious. And because he is never satisfied and starts from scratch every time, designing stores with the same care, the same flair, the same madness with which museums are built. Whether he is working for Tyler Brûlé (“Monocle”), Takashi Murakami, Pharrell Williams, Alejandro González Iñárritu or even Uniqlo or Nike for Dean & De Luca, Masamichi Katayama goes in search of new sparks and transforms his three-dimensional visions into projects thanks to new and unpredictable languages, letting himself go to the flow of the creative tides that... characterize his days. It is from the untamable chaos of his creativity that projects capable of exceeding initial expectations are born each time. And break down the limits of imagination.

A designer, but first and foremost a surfer. David Carson is one of those who have worked for Pepsi, Ray Ban, Nike, Microsoft, Giorgio Armani, NBC, American Airlines, Levis, AT&T, British Airways, Kodak, Sony, Suzuki, Toyota, Warner Bros., CNN, MTV, Fox TV, Nissan. But his way of approaching work, his way of drawing, his way of designing, had originated there, from the waves he had been surfing since he was a boy. Not only because he started drawing surf magazines. But because in his wild days the waves, as William Finnegan would say, are his “playground, they are the object of your adoration and your deepest desires. But at the same time, they are your adversary, your mortal enemy, your nemesis”. Courage, alchemical vision, obstinacy, breaking with the past, fighting against everything that is boring and already seen. David Carson is one of those people who are never afraid. And he continues to prove it. Among the waves and with a pencil in his hands.

It was 1972 when the "Federal Graphics Improvement Program" was born in the United States: a program designed to raise the standards of design and communication of U.S. government agencies. And NASA is the main candidate for the program's major breakthrough. Two years later, Danne & Blackburn, a very young New York agency led by designers Richard Danne and Bruce Blackburn, presented its idea for a new graphic design to NASA management, giving the world the inimitable, futuristic and forward-looking "Worm" logo. The presentation is an absolute success, but 23 years after that meeting, NASA decided to abandon the project and go back to using its old logo, the "Meatball" that we all know. The extraordinary story of this space journey through the world of graphics, science and exploration is told in a book: “The NASA Graphic Standard Manual”, an essential collector's item for all fans of the genre.