This approach is not new, but it has become rarer and therefore more powerful. Beyoncé has long
treated albums as conceptual events, collapsing the boundaries between music, film and fashion.
Her projects are designed as unified statements, where visuals are not promotional tools but
narrative extensions. Every frame, costume and movement carries meaning. The album behaves like
a curated exhibition, meticulously controlled yet emotionally expansive.

Similarly, Frank Ocean has built a career around restraint and coherence. His albums are sparse,
slow and visually minimal, yet deeply intentional. Imagery, typography and sound exist in quiet
dialogue, demanding attention rather than demanding clicks. In a culture of excess, his work
reminds us that absence can be as expressive as abundance.

For Billie Eilish, the album has become a vehicle for visual transformation. Each era introduces a
distinct palette and silhouette that mirrors the emotional register of the music. Colour, clothing and
composition are never incidental. They evolve alongside her sound, creating a visual continuity that
allows audiences to recognise not just a song, but a phase of self-expression.
Tyler, The Creator approaches albums as character studies. His releases arrive with alter egos,
uniforms and carefully constructed worlds that feel closer to cinema than marketing. Fashion, set
design and narrative are integrated into the project from the outset. The album is not just heard – it is
performed, worn and inhabited.

Few artists have explored the album as art object as consistently as Lady Gaga. Her work has
always existed at the intersection of music, fashion and performance, with each release establishing
a visual mythology of its own. Costumes are not styling choices; they are part of the language. The
album becomes a stage where identity, spectacle and concept collide.

Rosalía brings a different kind of precision to this practice. Her albums fuse tradition and
experimentation, drawing from flamenco, pop and avant-garde imagery to build worlds that feel
both contemporary and deeply referential. Visuals are symbolic rather than decorative, rooted in
gesture, movement and material culture.

Finally, Kendrick Lamar treats the album as a philosophical structure. His projects unfold like
essays – layered, intentional and visually restrained. Imagery, staging and performance reinforce the
intellectual architecture of the music. Nothing exists in isolation. Everything contributes to
meaning. What unites these artists is not genre or popularity, but authorship. They resist fragmentation. They insist on cohesion. In doing so, they reclaim the album as a serious artistic form, one that rewards patience, attention and immersion.In a cultural landscape driven by immediacy, the album as artwork feels almost radical. It asks listeners to slow down, to look as much as they listen, and to engage with music not as content, but as creation.

Words by Fabiana Gutierrez

The post The Album as Artwork: When Music Becomes a Total Visual Project appeared first on Voir Fashion.

LIL NAS X

This time, the most unusual, extravagant and ethereal look was worn by Lil Nas X, who decided to take the opportunity to celebrate Pride Month by wearing two different outfits in a gender-fluid aesthetics: the first, designed by Italian designer Andrea Grossi, is composed of a fairytale dress with wide skirt and corset, entrenched in a nineteenth-century appeal, covered with graphics that retraced various historical periods; while the second is a fabulous seventies floral suit that comes from the fall/winter 2021 collection by Richard Quinn.

TYLER THE CREATOR

Tyler The Creator, fresh from the release of his new album “Call Me If You Get Lost” reiterated his stylistic evolution by presenting himself again in a lobby boy aesthetic but a bit more street than what we’re used to. He presented himself through a new persona earlier this month in a short teaser, as he transcends into an Andy Warhol-inspired IGOR character for a more eccentric look. It looks like Tyler is sticking with this new aesthetic as he showed up on the 2021 BET Awards red carpet pulling off the same faux fur hat.

CARDI B

Cardi B showed up in a Dolce&gabbana gown, with an exquisite detailing that sculpted her body to perfection whilst revealing in the middle of her performance that she is expecting a second child from Offset. 

ZENDAYA

Zendaya’s look was particularly interesting, as she decided to wear a sparkling dress by Versace dating back to the spring/summer 2003 collection. We can’t help but notice the resemblance to Beyoncé’s look she wore in her first performance at the BET Awards in 2003, and we fully stan the supporting queen paying homage to the crazy in love start.

MEGAN THEE STALLION

The uprising star walked away with very special trophies, dominating the show by winning seven prizes. Her look was nothing less of a showstopper than her performance, accessorising the look with dazzling diamond earrings, rings and a pendant necklace, as well as an angular white clutch as she posed on the carpet with boyfriend Pardison Fontaine. For footwear, Megan Thee Stallion wore a pair of sparkling sandals. The stiletto heels with metallic silver detailing and ankle straps were embellished with crystal toe slides. Their sparkling featured was paired to perfection with the rapper’s jewelry and dress straps.

SEVYN STREETER

The star brought some shine to the fashion scene of the the night, with her La Roxx sparkling outfit. This dazzling monochromatic look was adorned with cut out gloves and an eye-catching headpiece, paired to perfection with a glittery eyeshadow that gave off a very 2000’s vibe, whilst bringing the look to life.

H.E.R

The singer wore a Giorgio Armani glittering power suit with transparent, relaxed trousers featuring a geometric pattern, which gave off a sexier, evolved style to the star.

TARAJI P. HENSON

The actress wore an atelier Versace dress, which featured a matching baroque printed two piece with pink accents joined together by a divine mesh corset that followed up to a sleek, sexy leg opening.

MARSAI MARTIN

The actress and producer, who became the youngest person ever to produce a film, wore Annakiki on the red carpet, with a beautiful orange ruffled top that defeats gravity and contrasting utilitarian trousers with asymmetrical detailing which give an unexpected, but yet delightful twist to the look.

Words By Tommaso Donati, Graphic By Emily Chapillon

The post Best Dressed At The BET Awards appeared first on Voir Fashion.

To end the week on a good note we have come up with a list of our favourite music releases of the past week, from fresh new singles to their accompanying visuals.

Here are a few songs that you and add to your playlists this week:

Patience by Wesley Joseph feat. Jorja Smith

In anticipation of his upcoming debut project ULTRAMARINE the London-based artist, producer and director, Wesley Joseph, has just released his single “Patience” featuring Jorja Smith. For years, the two artists have known each other being both friends and collaborators under UK’s Horse Collective.

The artist and filmmaker also released an accompanying music video that did not disappoint and showcased the talent first exhibited in his previous productions, “Thrilla” and “Ultramarine”.

The minimal yet appealing video takes us on a car journey around the country, where the two artists can be seen vibing but also encountering challenges and tragedy along the way – questioning “how to be patient”.

Lumberjack by Tyler the creator

A song with a lot of anticipation. Tyler started by broadcasting the “Call Me If You Get Lost” message on billboards around Los Angeles, and then went on to release his “SIDE STREET” trailer to tease us about his upcoming album. But finally, the time has come, Flower Boy has just released his new single “LUMBERJACK.”

Tyler continues to amaze us, developing his peculiar style and artistic vision through a catchy, witty, and in true Tyler-style,out-of-the-common song. As we were impatiently expecting, alongside the track came a music video that got everyone talking. The video, directed by Wolf Haley (Tyler, in case you didn’t know) reminisces on the 70s colours, with various cultural references, the inclusion of futuristic elements, and juxtaposition of ideas and places.

And this seems to be only the begging, as Tyler announced the release of his new album Call Me If You Get Lost coming on June 25th.

No More Friends by Olivia O’Brien feat. Oli Sykes

A clash of genres or simply the improvement of one?

We’re talking about the collaboration between Olivia O’Brien and Bring Me The Horizon’s Oli Sykes, on the new song “No More Friends.”

This duo surprised us, the singer-songwriter Olivia O’Brien has just released her six-track Episodes: Season 1 EP, and we must say that this is one of our favourite productions of the project.

Between the blurring of genres, Olivia’s catchy voice, the energetic rhythm, relatable lyrics and 70’s inspired visuals we can’t stop talking about it, an immediate addition to the playlist of the week.

MY OWN by H.E.R.

H.E.R. official debut LP “Back of My Mind” has just been released. The project includes some of her previously released productions like “Damage,” “Come Through” feat. Chris Brown, “Hold On,” and “Slide” feat. YG, amongst others.

But before its release, the artist decided H.E.R has decided to share one final teaser. “My Own” is the latest song released by the singer and songwriter, where she discusses the need to be by herself, about knowing one’s limits and being able to stay on their own.

So if you love H.E.R’s voice or simply resonate with her lyrics, have a listen to “My Own” below.

Rollin Stone by Little Simz

The London rapper continues to take us on her journey of genre experimentation with her latest single “Rolling Stone”. Different from the previous ones if you ask us, but still characterised by up-beat music, powerful lyrics, and a confidence that is noticeable through every sound.

The song is magnetic, and that’s what we hope will remain consistent throughout all of her work and upcoming album “Sometimes I Might Be Introvert”, dropping on the 3rd of September.

Words By Chiara Ferrari

The post The Music Releases This Week That Is Staying On Our Minds And Playlists appeared first on Voir Fashion.

Recently, D.C. rapper Goldlink angered the rap community after posting a letter on his Instagram about the deceased Mac Miller, implying that Miller stole the theme for his album The Divine Feminine in 2016. While the ‘Crew’ rapper displayed extraordinary disrespect by publicizing his resentment for a man who passed away just last year; I feel like this was a great time to brush aside the foolishness and highlight the positivity, celebrating what The Divine Feminine represents in Hip-Hop, which is a definitive phase of expression within the artform’s relatively short life.

Over the years, the combination of the genre’s growth — along with the internet’s addiction to transparency, has caused the new generation growing through social media to welcome more unique concepts; often describing themselves as ‘woke’ in the process. Subjects such as gender fluidity, feminism, and masculinity, are normally involved. I’ve noticed specific instances of ignorance that surround the topic of masculinity — like the restriction from wearing ‘feminine clothing’; while now a person’s sense of comfortability is perceived as a positive characteristic, coming from the 90s at the time that I did, it couldn’t have been more different.

Although I credit the ability to be free down to social media’s acceptance, I tip my hat off to the impact Hip-Hop has on cultures throughout the world and the complete clarity the genre has provided since its creation (let us not forget, Hip-Hop was created as a way of expression for the black communities struggle in the Bronx). So with that being said; I want to celebrate the influence of Hip-Hop and how the evolution of femininity has impacted the new generation, by picking out the most impactful examples of pink in rap.

It’s 2002, the height of the Dipset era and the Roc-A-Fella dynasty — the city of New York is hosting the biggest fashion event of the year, the Mercedes-Benz Fashion Week. The foresight of Label boss Dame Dash and the ingenuity of Cam’ron was always a combination that produced magic; So there was no surprise that with the help of Dash, the Dipset commander pulled up in one of the most legendary fits to ever grace Hip-Hop: the illustrious pink mink jacket, along with the hat and burner phone. As both Dash and Cam were born and raised in the fashion-focused neighbourhood of Harlem; the influence was clear to see at the moment. While most people from their area were used to the abrasiveness of the duo, within the wider scope of Hip-Hop — it was a statement, to say the least. Ever since then, the idea of what femininity represented, spread throughout Hip-Hop.

A few years later, Cam’ron’s label mate; Kanye West, popularised a new kind of pink style to the mainstream. A much more conventional proclamation, Kanye would normally rock a pink polo with a classy backpack to match. Not only was this merge important to the extension of the movement led by Cam, but more importantly — this verified Kanye as the influence for the geeks, as opposed to Cam’s influence on the streets. Because of this diversification, this continued to bring even more conversation surrounding Hip-Hop and it’s identity.

Moving towards the late 2000s, Kanye continued to lift pink rap to new heights. This was the era in Hip-Hop where the nerdy rap was dominating the gangsta rap; Kanye West had just convincingly beaten 50 Cent to the number one spot with his album Graduation – the album that is infamous for it’s powerful, intense colouration. The transition was in motion.

And because of Hip-Hop tycoon, Pharrell’s love for intense colour styles and powerful visuals with brands like Bape, to name a few – it helped these combos crossover into the streetwear world. And by the end of the decade, it would be hard to find a guy without a pink polo in his wardrobe. As the new decade began, the surprising amalgamation of up and coming, contemporary streetwear brand Supreme, and the profound new suburban rap crew, Odd Future, hit the wide-eyed internet world by storm. As Tyler, the Creator and his squad took over 2010; this was the beginning of pre-teens involvement within mainstream rap. While the group’s own fashion line Golf Wang epitomized the crew’s sarcastic wit; the ignorant motifs complemented the dynamic undertones displayed on the ensembles perfectly — from lime to magenta, and indeed pink. Odd Future embodied the new era, fusing Hip-Hop, fashion, and their own originality; allowing people from anywhere to connect with their vision.

Tyler even said in his 2016 note to Pharrell, proclaiming the influence he took from the Virginia native: “I never had brothers, uncles or my father around so thank you [Pharrel] for being the male figure I gravitated towards. Allowing me to embrace being different and trusting my ideas.” While men in previous decades would rather be caught dead in some coral clothing, guys like Tyler embrace their uniqueness. Even though Hip-Hop was built on these very same morals; it’s refreshing to see how the integrity has always been there, at the same time — continuing to grow into the culture-crossing genre it is today; whilst simultaneously co-existing within the unforgiving world of modern technology and ‘cancel culture’.

Words by Charlie Miller

Graphics by Katie Janes

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The post Pink Matter: The Evolution of Femininity in Hip-Hop appeared first on Voir Fashion.

Whether it be Pharrell Williams collaborating with Chanel for his SS19 urban capsule collection, Kanye West dominating upmarket footwear sales with Yeezy Season 8 or A$AP Rocky starring in Calvin Klein’s, ‘I Speak My Truth’ campaign, the current prominence of hip-hop in luxury fashion is undeniable.

Hip-hop has had a historic captivation with high-end fashion, with Dapper Dan’s counterfeit Louis Vuitton and Gucci tracksuits stylising the genre throughout the 80s and early acts such as Big Daddy Kane and LL Cool J sporting brands such as Le Coq Sportif and Kangol. Despite this, it is only in the last decade that such interest has been reciprocated by the industry’s most prestigious brands. Although, that is not to ignore the several successful fashion collaborations hip-hop has had, with Run-DMC’s $1 million endorsement deal with Adidas being the earliest example of this. What it does show is that there has been a cultural shift in the way hip-hop and its unique style is viewed by society.

Before the turn of the century the East/West Coast rap rivalry, N.W.A’s gangster self- identification and the killings of popular artists, Tupac, Biggie Smalls and Fat Pat, meant that hip-hop had an image of both deviance and danger that no high-class brand of sophistication and elegance would want to be associated.

But when Nielsen Music published that rap had surpassed rock to become the most popular music genre in the U.S, with a 24.5% share in music consumption, the resistance that luxury wear once held against hip-hop soon evaporated. Many artists not only became the face of upmarket brands, such as A$AP Rocky and Dior, but also began to compete with such companies by developing their own fashion lines, such as Pharrell Williams’ Billionaire Boys Club, Tyler the Creator’s Golf Wang, Lil Wayne’s Trukfit and Kanye West’s Yeezy collection. And with the likes of Lil Uzi Vert stating, “ Honestly, I think I do this [fashion] better than music,” in his interview with GQ, this current trend shows no signs of slowing down.

The commercial appeal of hip-hop’s expressive street style can be traced back to the genre’s former roots as the ‘outsider’. Without the pressures of being taken seriously and receiving expert industrial criticism the fashion that evolved out of hip-hop had a certain sense of freedom and eccentricity to the way it was both designed and styled. This is a distinctive feature that has remained to this day, where the notion of ‘menswear’ is becoming ever transparent as contemporary rappers continue to experiment with traditionally feminine accessories, such as purses, nail polish and crop tops.

Given that hip-hop is now at the peak of its existence, in terms of mainstream popularity, it is no surprise that both leading labels and artists themselves are capitalising on this synergy between the two industries. The question then remains, has hip-hop cemented its place in high- brow culture? Or will the over-commercialisation of the genre’s street apparel be to the demise of its popularity?

Words by Charlie Malcolm-Mckay

Graphics by Araceli Alonso

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The post Hip-Hop x Streetwear: From Underground to High-End Fashion appeared first on Voir Fashion.

When we hear the word ‘goth’, the image of a dark-lipsticked, spike-collared, fishnet- cloaked figure most likely floats to mind. But by poring over its rich history, gothic culture seems to encompass so much more than just a seasonal fashion trend or a partiality towards dark attire. It represents a movement in the collective arts, giving birth to the Romantic literary obsession with ghosts and monsters, inspiring the majestic architectural structures of churches and cathedrals, and fuelling up philosophical discourse within the youth generation, particularly in regards to the existential works of Friedrich Nietzsche. But perhaps the most distinctive feature, seated permanently in the flesh and core of gothic worship, is the revolutionary music of 80s gothic rock, introducing lush, atmospheric sounds and moody vocals through bands such as The Cure, Joy Division and Bauhaus.

So where did this pool of associations with conspicuously dark, witchy accessories originate from? How did changes in musical tastes metamorphise into a widespread penchant for dressing a certain way?

A big part of the answer lies in the influential power of musical celebrity. As Billboard magazine has stated in 2003, “music stars are the fastest-rising groups of fashion celebrity”. Take for example, one of the most well-known rappers, singer-songwriters and designers of our day: Tyler, the Creator. His aesthetic world of explosive pastel colours and cartoonish vibrant graphics is undoubtedly threaded with influences of the 90s hip- hop scene, with its emphasis on comfortable DIY streetwear and a revival in popularity for the ultimate skateboarder’s classic, the Converse One Star.

Since the launch of his clothesline Golf Wang, a streetwear craze is witnessed to have engulfed the appearances of his young fans, with more and more kids popping up in preppy chinos, cherry blossom shirts and chicken and waffles bucket hats. If you were to go out on the streets and ask a group of teenagers who their current fashion icon is, you would be more likely to hear Tyler’s name come up than that of say, Vivienne Westwood, even though she is renowned for having brought modern punk and new wave fashions into the mainstream.

Tyler’s linkage of music and fashion continues in his latest synth-heavy, neo soul dipped album ’Igor’, released earlier in May of this year. Introducing the alter-ego character of Igor in his music video for ‘EARFQUAKE’, Tyler conveys the importance of spectacle as his enigmatic persona prances around on stage in a striking platinum blonde wig and cyan blue suit. After just one viewing of the video, it is hard for anyone to listen to the song again without a subconscious visualisation of his sleek, colourful garments. In this way, Tyler reveals to us the ability of musical celebrity in merging the auditory qualities of a song with the material contents of clothing and accessory.

Another factor in bridging the transition between music and fashion culture is rooted in the pure translation of the philosophical ideals behind lyrics or instrumentals into forms of material clothing. An almost crystal clear translation of The Sex Pistols’ fast-paced, angry guitars in their 70s single ‘God Save the Queen’ (an attack on the social conformity of Britain) into the language of fashion can be seen through punk’s obsession with obscene graphic tees and carefree safety pins dangling from torn-up clothing. For the youth culture throughout generations then, music taste appears to stride hand-in- hand with an unapologetic expression of fashion and political individuality.

In light of this historical connection between music and fashion, we should then be encouraged not to view the world of fashion as a closed-off, polished sector constituting solely of runway models and high-end designers, but rather as a collective melting pot of artistic endeavours. This dynamic view of fashion allows us to understand its continual fusion with multiple musical styles, from the tie-dye frenzy of the 60s, inspired by the psychedelic freedom of bands such as The Electric Prunes, to the androgynous thrift- store clothing of 90s grunge, championed through the moody sounds of Nirvana and later interspersed into the Tokyo-inspired futuristic aesthetic of Grimes.

As we edge closer and closer to 2020, we may expect to see more of the dramatic rhinestone-covered, intensely glittered style of masquerade makeup brought to media attention by the HBO show ‘Euphoria’ as well as through the music videos of leading electronic pop female artists such as FKA Twigs, Ariana Grande and Rina Sawayama. There has also been a rapid surge in popularity with cloud rap fashion (hazy, low-fi hip-hop subgenre), as more and more young fans of artists such as Yung Lean and Bones are increasingly seen to sport black graphic tees, nail polish and metallic chains, as well as label themselves as part of the now viral subculture of e-boys and e-girls.

Words by Shir Ariya

Graphics by Fiona Campbell

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