There were times when I found it difficult to write about Louis Vuitton, or more accurately the Louis Vuitton post Virgil Abloh. Abloh broke down barriers that had upheld the luxury world for aeons, and introduced a revolutionary fashion movement that transcended tradition. It is an understatement to say he was a visionary like no other.
Abloh was culture, and still is even after his passing.
For the two years following his absence, traces of his creativity were still present over each collection, a testament of his impact. However, that was as far as it could go: a ghost of a creative long fallen. The fashion industry does not wait nor stop, and the throne had been empty for a while. A new era awaited the house. Enter Pharrell Williams.
It caused quite the buzz when it was first announced. One could not help but inevitably pit him next to his predecessor and friend, including myself. Pharrell himself is a pop culture sensation; he is a moment, but is he a Vuitton moment? His debut collection shut any arguments against him down. With the pixelated Damier (dubbed Damoflage) on double-breasted suits, trench coats in camouflage greens and funky sunnies, Pharrell showed the world that he has both the class and the style.
Of course, my attention zeroed in on him after that show, eagerly awaiting his next move. The collection that followed that Spring/Summer 2024 runway is the Pre-Fall 2024, a traditionally ‘relaxed’ prelude to the Fall/Winter 2024 collection. I have high expectations for this — as high as a normal fashion aficionado can have, at least. I am no stranger to the fashion influence he had had over the years, even before his fateful appointment with Louis Vuitton. When I think of him, I think of stylish hats and bold sunglasses, cheeky shorts and American influence. So when the opportunity comes where the world can see his signature reflected in an enigmatic-but-wearable collection, it is only natural to expect.
The show opened at Avenue of Stars in Hong Kong, right by the open sky and sea — quite the stage for a collection that is heavily nautical-themed. The space is transformed into a tropical sandy beach, the perfect complement for the breezy midnight, ‘I own a vacation yacht by the coastside villa’ aesthetic.
The collection is, at its core, very Pharrell. He brings in a sort of refined gravitas, a different lens to what Abloh envisioned for the then Louis Vuitton. Though there are clear references to his artistic quirks: navy hats, berets, oversized jackets and relaxed shorts, each piece bears a distinct tailoring that reflects the house’s savoir faire. Tropical-print suits are constructed with a structured straight shoulder, a hint of class that contrasts well with the matching beachy shorts. Resort ensembles in burnt hues, bomber jackets with embroidered appliques, and flat collar crisp blouses all elevate the theme. Its wearability might just be its winning points for this collection. Every garment is versatile, casual but classy per se.
Bags and accessories are also the focal points in this collection. Again, what is a Pharrell collection if not for his bags, hats and sunglasses? Embroidered berets, classic navy caps, retro hip-hop round sunglasses and tinted aviators are just some of my favourite styling gems in this collection. Signature Keepalls in tropical prints and nautical monograms quickly make their way to my list. Pair it with an adorable crab bag charm hanging by the side? I am sold.
It is perhaps too early to pass a judgement on Pharrell’s tenure in the Maison. Yet despite his short run with the house as of now, he has proven time and time again, piece by piece why he is the next in line. I think it is safe to say that Louis Vuitton under his direction is developing a new culture, and maybe over time, I will confidently say that Pharrell is the new Louis Vuitton culture. At this juncture, I am simply a LVer.
