But if there’s one key takeaway from the Louis Vuitton Spring Summer 2024 Show, it’s that it’s not just about fashion– it’s an immersive experience that’s a little bit Louis Vuitton, a little bit celebrity-inspired, and a whole lot Pharrell.

The Phlace

The show took place on Paris’ oldest bridge le Pont Neuf while overlooking the river Seine in a nod to the brand’s Parisian roots. Guests arrived by boat to see the historical location covered in Louis Vuitton’s signature Damier check, drinking champagne and enjoying chicken nuggets prepared by celebrity chef Jean Imbert. What followed was a three-hour celebratory spectacle filled with fashion, music, and culture that confirmed Vuitton’s promise to position itself as a ‘cultural brand’.

The Phriends

A live orchestra and gospel choir accompanied the 71 looks that strutted down the runway, building excitement that exploded as Jay-Z gave a surprise concert near the end. The rapper wasn’t the only A-lister in attendance; amongst the 1,750 guest list were also Naomi Campbell, Jaden and Willow Smith, Kim Kardashian, and Paris mayor Anne Hidalgo. Most notably however, were Pharrell’s closest friends lining the front row. From Beyoncé and Zendaya’s reunion to A$AP Rocky and Rihanna’s matching denim fits, the show seemed more like that party hosted by the cool, popular kids we all desperately wanted to get invited to.

The Phinspiration

But unlike those high school parties, Pharrell wants everyone to feel included with the ‘Lovers’ collection. Following his announcement to take the reigns on Valentine’s Day, the 50-year-old kept the capsule theme going by revolving the whole show around love and community. ‘I make clothes for humans’, he said to Vogue ahead of the show, ‘It’s very inspired by the love and support of the people here that I’ve just been blessed to be able to experience’. He even included his confidants inside the collection, with Rihanna being the face of the campaign and the clothes referencing Tyler The Creator’s signature preppy look.

The Phieces

And now on to the actual clothes. The runway opened with a neutral, boxy suit preliminary for the increasingly quirky and detailed looks that followed. Center stage was the LV Damier checkerboard, reinterpreted everywhere from leather biker jackets to fur coats. Pharrell also focused heavily on bags and introduced the ‘Damouflage pattern’, a digitized camo print that inspires thoughts of Minecraft.

Overall, the collection was an organized haphazard mix of vastly different aesthetics. Slick tailored pieces contrasted baggier clothes, and 70s flared trousers debuted alongside pearl-embedded tracksuits. Truly no style was left behind: there were leather football shirts, watch chain jewelry, camouflage parkas, and even a golf cart filled to the brim with LV trunks. The Vuitton logo was everywhere, with additional “LV Lovers” graphics plastered on both female and male models. There’s no doubt that a collage of so many opposing styles shouldn’t fit together; yet somehow Williams made it work.

The Phuture

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At the end of the show, Pharrell took a standing ovation in a ‘Damouflage’ patterned jacket and trousers, sweetly bringing out the Louis Vuitton design team to honor the community behind his debut (very on theme if you ask us). After such a grandiose presentation, the fashion industry is already wondering what the entertainment mogul is bringing to the table next. If his opening show is any hint, we can expect more statement bags, ‘Damouflage’ everywhere, break-the-internet moments, and a lot of celebrity power. The ‘phuture’ is Pharrell, and we’re all here for it.

_{Words by Alexia De Las Heras}

^{Header Image: @Louis Vuitton Instagram}

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Midway through Black is King, the new visual album by Beyoncé, a voiceover starts speaking on the theme of kingship and responsibility: “The royalty in you is there for you to be a blessing to others”. Obviously it’s talking about Simba, represented throughout the film in human form (from a small boy in cowhide to a thrill-seeking adolescent, rowdily cruising through a neon-bathed city at night). But it’s hard not to take it as a nod to the artist herself, Queen Bey, whose aim in making this album is centered around exactly that mentality: using her worldwide platform to raise the profile of others, especially African creatives.

This purpose is clear from the outset. In the opening scenes, Beyoncé’s voice announces her intention to celebrate the African diaspora and its culture; as she walks along a beach cradling a baby in her arms, the viewer hears her honeyed Texan lilt: “We journey far, and can still always find something like home”. Later, during ‘Already’, a crowd of dancers ripple the Pan-African flag (horizontal stripes of red, black, and green, designed by Marcus Garvey in 1920), a bold banner of political unity for all those of African descent. And at the end of opening song ‘Bigger’, a seascape emerges onscreen while Beyoncé’s voice is heard again: “The coast belongs to our ancestors,” she says, as we are presented by the brooding blues of dusk on the shoreline.

Beyonce, Shatta Wale, Major Lazer- ALREADY- From Beyonce Youtube Channel

Through both sight and sound, Black is King foregrounds this powerful vision of pre-colonial Africa, and brings its symbolic weight to bear on the racial injustice and inequalities of today. But it isn’t symbolism alone; Black is King incorporates and promotes Black talent from across the creative industries. African collaborators make up a significant part of the track-list (the Nigerian musician Tekno on ‘Don’t Jealous Me’, the Malian singer Oumou Sangaré on ‘Mood 4 Eva’), and this extends to the clothing and set design. The effect of these choices is substantial and immediate; Loza Maléombho, a designer based on the Ivory Coast, made a monochrome jacket with oversized shoulder- pads for Beyoncé to wear in ‘Already’, which has already become a fashion hit.

It goes without saying that the visual element is striking, inventive, and overwhelmingly beautiful – we have come to expect nothing less after the sensory masterpieces of Beyoncé (2013) and Lemonade (2016). But where those albums – especially Lemonade – were personal and emotionally intimate, Black is King is panoramic, swooping, and almost Biblical in scope and tone. Instead of looking inward, it reaches outward; the camera repeatedly wheels down from above, seeking out Beyoncé as a single figure on deserts, oceans, in a flower-filled boat on a lake, or reclining in a meadow (her outfit the colour of sunflowers).

The cameos, too, are nothing short of glorious. Before Lemonade, we would have never dreamed of Serena Williams twerking in black and white, but now – after it’s happened– we honestly can’t imagine a world without it. The same goes for Black is King; before its release, we could not have imagined Beyoncé serenading Naomi Campbell, or visualised Tina Knowles at a tea party crowned with a headdress of fuchsia pink feathers. But now, it seems incredible that such scenes weren’t out in the world sooner.

Beyoncé grounds the grandiose cinematography and superpowered outfits with her now-signature mix of cheek and charm. Her more “fun” side was first glimpsed in the ‘Flawless Remix’ video with Nicki Minaj, and on the “homemade” 7/11 music video (a lockdown-friendly hit before the lockdown was even on the horizon) – here, it’s shown in flashes of social satire. During ‘Mood 4 Eva’, Beyoncé and Jay-Z play mistress and master of a pastel orange palace, and she struts around in a voluminous silk dress while a (white) butler follows, dutifully carrying her train. There are not one but two scenes showing paintings of Beyoncé as the Madonna, complete with spiky halo – kitsch at its outrageous best.

In the second of these, she and Jay-Z stand in front of the portrait in a partial recreation of the Apesh*t, Whereas before it was the Mona Lisa presiding over them, now it’s Beyoncé herself. Her art and her output have come full circle; as well as challenging how the past is presented, she’s now creating new narratives to take into the future. In the interlude between ‘Water’ and ‘Brown Skin Girl’, a male voice speaks: “We need to show Black men and women are emotional, are strong, are smart, intuitive”. Black is King may not be perfect – and has come under some criticism from other artists – but as a celebration of Black talent and creativity, it surely succeeds at its own intention, and succeeds in spectacular style.

Words by Jaleh Brazell

Graphics by Clare Stephenson

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Lil Pump – Gucci Gang

When your part of a group known as ‘Gucci Gang’, it is no surprise that you would be a fan of the high-end clothing brand. Lil Pump’s recent release repeats the name throughout the song, with the lyrics also mentioning fellow high-end designers Balmain, and references to Christian Louboutin.

Migos – Versace

Although they’re not the first rappers to mention fashion house Versace, Migos probably are the first to say the high-end brands name 91 times. Throughout the song, Migos describe the different Versace items that they own, including fashion, jewellery and interior products.

Jay-Z – Tom Ford

As luxurious and refined as a Tom Ford suit, Jay-Z’s song named after the high end designer matches the feel of one of his creations. In the track Jay-Z speaks of rocking Tom Ford suits, something he is known for wearing from time to time.

Cardi B – Bodak Yellow

Topping the charts with her first major release, Cardi B’s Bodak Yellow, references her past and work ethic. “These expensive, these is red bottoms, these is bloody shoes” are lyrics in the rap, that speak of Christian Louboutin shoes, a brand known for their signature red sole.

A$AP Rocky – Fashion Killa

No stranger to high fashion is A$AP Rocky, who has been involved in fashion since 2012. So it is no surprise that one of the songs to feature in this round-up is ‘Fashion Killa’, that mentions many high-end brands throughout the four-minute track.

Future – YSL Cheetah ft. Juelz Santana

Shout outs to Gucci, Versace, Christian Louboutin and Burberry, happen throughout the four minutes of one of Future’s early releases. Titled YSL, the high-fashion labels come at you fast in this rap.

Kreayshawn – Gucci Gucci

With an infectious repetitive chorus, and references to Gucci, Louis Vuitton, Fendi and Prada, this list wouldn’t be complete without a mention of “Gucci Gucci” by rapper Kreayshawn.

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