+18 Pharrell Shows He’s The Exception To The Rule
Whenever a celebrity is announced as a leader in something outside of what they’re renowned for, it should always be approached with a little bit of caution.
Usually, it’s not that great. On the absolute worst side of the spectrum, look no further than reality TV actor and convicted sex pest Donald Trump, who unfortunately served as the 45th President of the United States, and is ready to have a go at another term.
In a much less dangerous promotion, Love Island star Molly Mae being announced as the creative director of Pretty Little Thing (although gross, fast fashion), and when asked what she did as creative director, confidently replied that she gets to pick the Spotify playlist and curate the “vibe” at photoshoots.
Usually, it’s an easy way to draw publicity to the company through whoever they’ve hired, understanding that people like me will most likely look upon the promotion and have something scathing to say about it – because after all, all press is good press, right?
Enter Pharrell. Not only a 13-time Grammy award winning artist himself, he’s also known as something of a visionary, producing other artists’ record-breaking albums and being able to spot and champion rising stars – I’m directly referencing The Butterworth Effect’s fave, Maggie Rogers, and that viral video where she presents her song Alaska to him at NYU, and Pharrell spine-tinglingly replies… “No notes.”
Apart from his entertainment achievements, he has already had some experience in the fashion and beauty industry, co-founding streetwear brand Billionaire Boys Club and having several collaborations with Louis Vuitton, Chanel and Adidas, as well as having his own beauty brand, Human Race.
When Louis Vuitton announced that Pharrell would take the reins after Virgil Abloh’s death, I was excited albeit sceptical. Louis Vuitton is one of the biggest high luxury brands in the world, and taking it on is no mean feat. His first collection in June last year showcased a dedication to Virgil, with street-style influenced pieces and pixelated graphic patterns. The clothes were good, but it was the takeover of the Pont Neuf bridge in Paris that made it feel more of an event rather than what it intrinsically is: a show to showcase the clothes. Guests were ferried in in Bateaux Mouches, with the residents of Paris looking on in awe.
The idea of a runway show becoming more of a spectacle than a showing of the clothes has taken off in recent years, with designers wanting to outdo one another with bigger and bolder events. Chanel under Karl Lagerfeld and Louis Vuitton under Marc Jacobs were the masters in this, but oftentimes today it can feel like designers are trying to make headlines through their sets, which draws attention away from overall quite lacklustre collections.
Now we come to Louis Vuitton’s A/W 2024 collection under Pharrell. Having made his entrance with his previous extravaganza, this collection proved that he is in fact the perfect man for the job, and is thankfully flourishing under the pressure of the French fashion house. Looking to a Western influence, he not only thoughtfully paid tribute to Native Americans through this collection, but he also made it fun! Bolo ties were back (and should always be in, if you ask me), along with colourful patched cowboy boots and assless chaps. While the “cowboy and Indian” aesthetic is rooted in colonialism, Pharrell looked to Dakota and Lakota tribes for help in design, knowing that ultimately, Native Americans certainly have an eye for detail and pattern through indigenous dress that white cowboys never quite nailed in their own clothing. Hand-paintings and floral embroidery were finessed by members of these tribes, to detail one of Louis Vuitton’s most recognizable accessories: the Speedy handbag.
Pharrell’s long-lasting expression of love through his work was seen through a lens of race and colonialism here in a way that it is not often looked at. For a topic that can be fraught with centuries of anger and violence, here it was expressed in a way that brought everyone together in a joyous expression of design. “When you see cowboys portrayed you see only a few versions. You never really get to see what some of the original cowboys looked like. They looked like us, they looked like me. They looked Black. They looked Native American.”
This collection was all about the details. Fringing, patched leather, turquoise buttons, embellished collar points, metal-capped boots, embroidered denim, and pussy bow collars were just some of the finer points to pay attention to. Smart tailoring was relaxed with Western-inspired detailing and leather belts, regardless of the double-breasted front and necktie styling. French-style jackets were relaxed with baggy jeans, creating an ultimately wearable collection that can be dressed both up or down, but still retained its fun and playful nature. Tailoring didn’t stick to the traditional, either, with some two pieces crafted from crocodile-embossed suede, with the bottoms featuring a flared silhouette (perfect for those cowboy boots) and the top half featuring that classic French round neckline.
Interestingly enough, there were some feminine design aspects that tied into the collection such as a round-necked jacket or a pussy bow neckline. Jewellery ranged from dainty metal chains to pearl-esque beaded necklaces; tops featured ruffled yokes, while the bottoms featured a few skirts worn over suiting trousers (with the hint that the pleated designs can be worn sans trousers, too). Alongside culture’s obsession with Jacob Elordi’s handbag collection, this runway showcased plenty of top-handle and shoulder bags too, proving that men don’t need to be confining themselves to messenger bags or bum bags only. Pop that over your shoulder, baby! Own it like a woman!
In between modern versions of classic trunks being wheeled down the runway, the handbags should have your full attention: Speedys, as we mentioned, have had a glow-up, with the silhouette featuring embroidery, floral embossing, studded patchwork, or being made from a material separate from the traditional Monogram canvas, such as a classic speckled cowskin hide. My personal favourite? A classic Speedy, with a gold-tone metal horseshoe detailing each side of the bag. A perfect expression of innovative design leaning into a fun, Western aesthetic. Horseshoes all round, please!
My only critique? The brims of the cowboy hats could’ve been exaggerated a little. They were too short! Clearly, luxury brands need to get advice from Stetson – or one of the greats – because in all of the Western-inspired collections we’ve seen of late, the hat silhouettes haven’t quite hit the mark (I’m also looking at you, Gucci Love Parade SS22). Pharrell for his closing bow thankfully walked out in a cowboy hat of the right proportions, giving me the hope that maybe production might rejig the measurements a little before they hit stores.
So, I guess I’ll see you in line for those leather cowboy boots then…