DEEPER STUDY / Converse / 2015
Made by You
Let the marks of real use become a product portrait and a prompt for personal storytelling.
AI-assisted research and analysis for the SNS Creative Fieldbook
Sources reviewed 7 November 2026
The original campaign creators did not write or endorse this analysis.
Original campaign credits: Converse and Anomaly New York. Robert Concepcion’s portfolio documents concept, art direction, launch activation, outreach and sneaker curation contributions for the 2015 work.
Recognition: No award-level claim is made. Sources establish execution, chronology and creator contributions.
Launch / edition: 2015. Award years: No award claim.
The problem. The idea. The experience.
A familiar shoe could express individuality through the people who wore it.
How the idea came to life
Portraits of lived-in Chuck Taylor shoes became a curated campaign and participation prompt.
How it reached people
Outdoor portraits, galleries and social storytelling.
Supporting sources: Brand primary release → Award archive → Creator primary portfolio →
Read the data in context.
The numbers below describe different kinds of outcomes. Their date, scope and reporting source are part of the result.
The March 2015 launch and creative system are documented; no attributable sales result is asserted.
Read the campaign story
Converse announced Made by You on 2 March 2015. The campaign presented worn Chuck Taylor shoes as portraits of their owners’ lives and creative expression. D&AD’s archive documents the outdoor treatment and social-story invitation, while creator Robert Concepcion’s portfolio identifies Anomaly New York and describes the collection and display of permissioned sneaker portraits.
The same visual system could contain both recognised creative figures and other wearers without needing an identical personal story. The campaign’s galleries, posters and social expressions are treated as one family. The reviewed sources establish the execution and contributors. They do not show that a scuff predicts product durability, that participation represented the whole customer base or that exposure caused incremental purchasing.
Editorial interpretation: the product becomes evidence of a relationship rather than a pristine object awaiting one. Marks, alterations and wear invite viewers to infer experience. This can make a standardised product feel personally distinctive without changing the manufacturing proposition. The mechanism is strongest when the object remains recognisable and the details feel earned, not when a production team manufactures signs of authenticity for the photograph.
Editorial interpretation: a simple portrait format also gives people a legible participation rule. They can understand what belongs in the collection and imagine their own contribution. However, recognisability should not become pressure to damage or modify a product for attention. An adaptation should celebrate existing use, make ownership and image permissions clear, and provide a meaningful story layer rather than treating wear as an aesthetic competition.
Look for traces that invite a specific story
Ask owners what a visible detail means before deciding that it is photographically interesting. The story may concern a routine, a repair or a creative choice rather than a dramatic event. Use only details the owner wants to share. This gives the object portrait a human reason to exist and prevents the campaign from assigning invented meaning to somebody else’s possessions.
Build a repeatable frame without flattening difference
Use consistent lighting, scale and caption structure so viewers can compare portraits easily. Preserve the details that make each contribution distinct. A shared frame lowers production complexity and helps participants understand the brief, but excessive standardisation can erase the very individuality being celebrated. Review the collection as a whole to see whether the format supports variety or makes every story feel interchangeable.
Keep claims about use within the evidence
A well-worn object can suggest attachment, but it does not prove durability across all customers or establish environmental benefit. Keep those claims separate unless supported by appropriate evidence. If repair or modification appears in a story, explain its context without turning it into a general instruction. The campaign should help people recognise personal meaning, not encourage unsafe alterations or unnecessary consumption.
A small test for another brief
Proposed adaptation: photograph eight existing customer-owned objects in a consistent format, each with an approved short explanation of one meaningful detail, compared with standard new-product images.
Measure product recognition, story recall and whether viewers can explain the relationship between object and owner. Compare perceived authenticity with factual comprehension rather than assuming an emotional response proves product superiority.
Stop if contributions require invented histories, unsafe alterations or unsupported durability claims, or if owners feel pressured to disclose experiences they would prefer to keep private.
- Borrow items under clear handling and return arrangements, with image rights agreed separately.
- Do not ask contributors to add wear, damage or modification for the shoot.
- Use accessible captions and let contributors approve the personal details published.
Sources & further reading.
These are educational analyses of external campaigns, not SNS client projects. Source-backed campaign details, editorial interpretation and proposed tests are distinguished. Brand and campaign-entry reports are not independent causal audits.
- Converse: Made by You announcement →Brand primary release · Supports: 2 March 2015 launch and campaign premise.
- D&AD: Made by You →Award archive · Supports: Outdoor portraits and social stories.
- Robert Concepcion: Made by You →Creator primary portfolio · Supports: Anomaly New York and creator contributions.