Sophia Wilson Reimagines Dr. Martens’ Bouncing Soles Through Girlhood

Dr. Martens’ latest look at its own style history comes into focus through photographer Sophia Wilson’s portraits, where the familiar boot becomes a canvas for self-expression. Her contribution to the brand’s September campaign, With Bouncing Soles, is called The Joy of Girlhood. It brings together playful styling, vintage tailoring and a streak of punk, with the Crazy Horse Leather collection at its center.

The project asks a useful question of a shoe with a long cultural life: “What makes your sole bounce?” Dr. Martens first introduced its 1460 boot in 1960. “Bouncing Soles,” the phrase printed on the heel loops from the beginning, originally described the brand’s air-cushioned construction. Over time, it took on a broader meaning, becoming a phrase people could make their own as they wore the shoes in very different ways.

Wilson’s answer starts with girlhood as a way of looking at the world. “For me, girlhood is about staying curious,” she says. “[It’s finding] excitement in ordinary moments. And never losing that part of yourself that believes life can still surprise you.” The idea shapes a portfolio that treats youthful energy as an attitude rather than a fixed look: expressive, open to contradiction and comfortable with a little mess.

Personal style, with room for contrast

Wilson has worn Dr. Martens since middle school, when she chose a holographic pair—a detail that places the shoes firmly in her own style memories. She describes herself as a former tomboy, and her portraits draw on the brand’s long association with people who bring personality to what they wear. Styled by Zoey Radford Scott, the images set grunge against vintage tailoring and a touch of polished, preppy dress.

The outfit combinations keep that tension lively: mini skirts, tube tops and lace-ups, finished with the weight and familiarity of Dr. Martens soles. The models pose casually and take up space, giving the clothes an ease that resists looking overly arranged. Wilson’s own taste works in a similar register. “I love good materials, and then also, I love chaos. I love a hint of punk in my preppiness.” That mix offers a practical styling cue: pair a crisp or tailored piece with something worn-in or subcultural, and let the difference do the work.

Dr. Martens’ role here is less about prescribing an outfit than providing a recognizable foundation. A classic lace-up can carry a delicate skirt, a vintage jacket or an irreverent top without flattening those pieces into one uniform look. Wilson’s styling makes the shoe feel adaptable because it leaves the wearer’s choices visible. The leather and construction anchor the outfit; personal taste supplies the mood.

A campaign that becomes a gathering

On October 8, The Joy of Girlhood moved from photographs into a gallery-cum-party staged by Wilson and Dr. Martens. Wilson wore a fresh pair of 1461s, while DJ Memphy provided the soundtrack. Guests saw the Bouncing Soles work and portraits of New York’s creative community through Wilson’s lens. Polaroids, Matchaful and custom keychains made with Brooklyn Charm gave the evening its own hands-on details.

That social setting connects with Wilson’s view of where creative work comes from. “My community is so strong. I just feel very, very grateful. Most of the people who came are my collaborators…” She also reflects on the way internet culture can shape an artist’s references: “A lot of being a child of the internet is making art that is influenced by another piece of art. Try to step outside of that and create from within. That will set you [apart as] a trendsetter rather than just a follower. And those are the people that stand out in history as artists.”

Chloë Sevigny, Naomi Watanabe and Jordan Stephens also answered the campaign’s question, alongside Wilson and a wider cast of DIYers, artists and creative figures. The range of participants suits a project built around an open prompt: each person brings a different reason for connecting with the shoes, rather than repeating one house style.

That openness is the point. Dr. Martens’ history gives the 1460 and its related designs instant recognition, while their wearers keep changing what that recognition means. Wilson’s portraits make a strong case for treating a familiar lace-up as a personal styling tool: ground a look in a classic, then let curiosity, contrast and community decide where it goes.