![]() ![]() ![]() ![]() The collection was replete with pixelated designs on a broad spectrum of pieces, alongside the Damier pattern - which graces the house’s bags - amplified in shades of yellow and black. for a digital motif and the use of Black American artist Henry Taylor’s micro-embroideries added a further dimension to his debut lineup. Playing on the LV codes, Williams’ collaboration with American pixel artist E.T. The line, marked by photo prints of the Pont Neuf and a uniquely designed coat with a shaved monogram motif, also underscored his flair for distinct aesthetics. The runway show mirrored a music video’s high energy, perhaps a testament to the meteoric reach of the brand’s parent company, LVMH Moët Hennessy Louis Vuitton.Ĭhanneling gender-fluid appeal, Williams showcased an exhaustive collection spanning checkerboard-patterned denim to a sophisticated cream evening jacket. The world-renowned musician, known for his genre-blurring creativity, masterfully orchestrated the event. The fashion show epitomized high-voltage energy, reverberating through the audience and culminating in a standing ovation for Williams. The pulse of Paris was set alight as Williams unveiled a debut fusing streetwear aesthetics into the French maison’s traditional lineage. “It’s not lost on me that I’m afforded this opportunity to tell these stories,” he said. His interpretation of the Louis Vuitton initials signifies his intention to pour love and appreciation into his work, carrying the legacy of Black culture forward in a space where it has been historically underrepresented. “LV is for Louis Vuitton, but it’s also ‘lover’,” he mused. Pharrell’s love for life, the moment, and opportunities, imbue his approach to design. “A lot of people lost their lives and suffered through the experiences to get us to these positions,” he noted, underscoring the painful history that fuels his desire to honor his community through his work at Louis Vuitton. Williams emphasized the hard-earned global recognition of this cultural “sauce,” exemplified in the influence of figures like LeBron James, Jay-Z, Beyoncé, Prince and artist Jean-Michel Basquiat. “I think it’s something in the sauce,” he said. He reflected on the culture’s unique flavor, influence and widespread appeal. “My appointment is a tribute,” Williams said.īlack culture and the struggles Black Americans have faced is a strong driving force for Pharrell. Williams also feels like he’s carrying on the legacy of the late Abloh, who was the first Black artistic director at Louis Vuitton and a personal friend. But stepping into the designer role isn’t just about fulfilling his personal destiny. “So, like when you’re chosen, you just kind of ride the wave.”Ī sense of being selected by the universe, or by Louis Vuitton, carries a sense of destiny for him. But the difference is, I was chosen,” Pharrell told AP in a joint interview. ![]() “I didn’t feel any of that because if I was competing for it and people kept telling me, ‘No don’t do it,’ I may have felt that way. But Pharrell says he doesn’t feel pressure to prove himself - he was chosen. It represents a daring move by the luxury brand to entrust the position to a musical artist and cultural influencer, not a classically trained designer. Peeking out from under long coats they created an on-the-go feeling and they breathed new life into classic 1930s silhouettes featuring the handkerchief-hems and/or black lace that Coco Chanel herself favored back in the day.His appointment symbolizes more than a career shift. That meant longer hemlines, of course, but what made things streamlined and relevant to a fast-paced modern lifestyle was that almost everything was worn over what the designer called a “stiletto body ” made of a Spandex with a light sheen. “Elongated to death,” is how Lagerfeld put it to a reporter from Reuters. As Anna Wintour wrote in her editor’s letter, this collection” moved daringly and definitively away from the plain, minimal, and vulnerable look that has characterized so many clothes over the past five years” of the 1990s.īeyond the exquisite embellishments, the news here was the attenuation of the silhouette. It wasn’t just that the collection included a record-making dress that required 1,280 hours of work chez Lesage, the show marked a sea change in fashion. Vogue deemed Karl Lagerfeld’s spring 1996 couture outing for Chanel so spectacular that “Ode to Coco,” a stand-alone Irving-Penn portfolio, was dedicated to it. This one, for Chanel couture, was shown in July 1996 in Paris. Editor’s Note: Ahead of the opening of “Karl Lagerfeld: A Line of Beauty” at the Costume Institute, we are celebrating his talent by adding five newly digitized archival shows he designed to the Vogue Runway Archive. ![]()
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