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https://www.essence.com/fashion/pharrell-louis-vuitton-pre-fall-2024-collection-recap/
Louis Vuitton 
We would’ve loved to be a fly on the wall for Pharrell’s latest creative venture, the Louis Vuitton Men’s Pre-Fall 2024 runway show. Presented in Hong Kong on the Tsim Sha Tsui waterfront, the experience looked like an immersive one for showgoers. Since this was the brand’s first-ever men’s collection presented in Hong Kong, it provided a significant moment for Pharrell to show the world what he resonates with most. Since he’s from Virginia Beach, Virginia he inherently leaned on the beachy elements of his hometown heavily. But, he also was heavily influenced by the notion of businessmen in Hong Kong who’ve decided to go on a trip to Hawaii–while on their trip their prompted to go back home for a meeting.
What came from these core inspirations was a lineup of vibrant looks with floral patterns and suiting that felt as if they were equipped for resorts. The presentation also featured oversized leather bags for traveling and berets which were a nod to Louis Vuitton’s Parisian roots. When speaking to Hypebeast, Pharrell shared that he played around with two archetypes for the range: a sailor archetype and a dandy on vacation. To accomplish the former, he showcased tailored suits that might have been uniform-inspired in different hues like white, and black, and there was also a striped variation in white and salmon. For the latter, he hyper-focused on patterned, playful sets and separates that felt like what men would wear on a day cruise or a tropical vacation.
Aligning with Pharrell, a savant who enjoys color, patterns, and vibrant accessories was a smart choice for Louis Vuitton. The brand’s men’s division is shifting and contorting–and this presentation is proof of that even with two shows down. Despite that, there are large shoes to fill left behind the titan Virgil Abloh who previously held the same role Pharrell sits at (men’s creative director). So we will be sitting tight as we experience the reimagination of house codes and what boundless creativity looks like from the multi-hyphenate.
Below take a quick look at what stood out to most at Louis Vuitton’s Pre-Fall 2024 collection.
What was ESSENCE.com’s favorite part of the show?
The debut of a 3-D printed, German-made shoe, the Cobra was an interesting addition to the presentation. Made of a soft mesh texture, the shoe features Louis Vuitton’s monogram flower logo. It was seen on the runway in both black and white iterations.
What were the staple looks?
WWD/Getty Images
One look in particular that stood out was an oversized leather blazer styled with a pair of enlarged trousers made of the same supple texture as the outerwear piece. This pushes forward the notion that one can wear whatever they feel comfortable when vacationing or heading to work. Another that felt meaningful was a denim two-piece suit created in a blue hue that felt modern. This set was worn with an enlarged weekender bag, a black beret, and aviator glasses.
There was also an outfit which was made up of a shirt, a long-sleeved silk overshirt, and a pair of shorts that flowed quite well. These pieces were created with a brilliant oceanside scene emblazoned onto them. What made this look work were brown leather sandals and a pink patterned fanny pack.
What were the accessories like?
In terms of footwear, there were loafers, closed-toe hook sandals, and leather utilitarian boots nearly up to one model’s knee. There were also a few oversized, logo tote bags–since the collection skewed into the arena of resort wear, there were also some bags that could serve as weekenders in lush leather variations. Jewelry was kept pretty minimal, and some necklaces worn looked like the hand-beaded jewelry found on beaches in countries like Jamaica.
Who was in attendance?
Louis Vuitton
Attendees included Pusha T, Swizz Beatz, Swae Lee, and skateboarder Tyshawn Jones. There was also an assortment of global superstars who are based in South Korea, China, Japan, and more.
Was Pharrell involved in the music for the show?
Yes. “Airplane Tickets” and “Airplane Tickets (Ukulele version)” by Pharrell Williams, Swae Lee, and Rauw Alejandro were a part of the show. The arrangement and additional production were by Thomas Roussel. “Hong Kong Night” composed and produced by Thomas Roussel was also a part of the presentation.
TOPICS: Louis Vuitton Pharrell Williams Pusha T virgil abloh
The post Everything To Know About Pharrell’s Second Louis Vuitton Collection appeared first on Essence.
Louis Vuitton
We would’ve loved to be a fly on the wall for Pharrell’s latest creative venture, the Louis Vuitton Men’s Pre-Fall 2024 runway show. Presented in Hong Kong on the Tsim Sha Tsui waterfront, the experience looked like an immersive one for showgoers. Since this was the brand’s first-ever men’s collection presented in Hong Kong, it provided a significant moment for Pharrell to show the world what he resonates with most. Since he’s from Virginia Beach, Virginia he inherently leaned on the beachy elements of his hometown heavily. But, he also was heavily influenced by the notion of businessmen in Hong Kong who’ve decided to go on a trip to Hawaii–while on their trip their prompted to go back home for a meeting.
What came from these core inspirations was a lineup of vibrant looks with floral patterns and suiting that felt as if they were equipped for resorts. The presentation also featured oversized leather bags for traveling and berets which were a nod to Louis Vuitton’s Parisian roots. When speaking to Hypebeast, Pharrell shared that he played around with two archetypes for the range: a sailor archetype and a dandy on vacation. To accomplish the former, he showcased tailored suits that might have been uniform-inspired in different hues like white, and black, and there was also a striped variation in white and salmon. For the latter, he hyper-focused on patterned, playful sets and separates that felt like what men would wear on a day cruise or a tropical vacation.
Aligning with Pharrell, a savant who enjoys color, patterns, and vibrant accessories was a smart choice for Louis Vuitton. The brand’s men’s division is shifting and contorting–and this presentation is proof of that even with two shows down. Despite that, there are large shoes to fill left behind the titan Virgil Abloh who previously held the same role Pharrell sits at (men’s creative director). So we will be sitting tight as we experience the reimagination of house codes and what boundless creativity looks like from the multi-hyphenate.
Below take a quick look at what stood out to most at Louis Vuitton’s Pre-Fall 2024 collection.
What was ESSENCE.com’s favorite part of the show?
The debut of a 3-D printed, German-made shoe, the Cobra was an interesting addition to the presentation. Made of a soft mesh texture, the shoe features Louis Vuitton’s monogram flower logo. It was seen on the runway in both black and white iterations.
What were the staple looks?
WWD/Getty Images One look in particular that stood out was an oversized leather blazer styled with a pair of enlarged trousers made of the same supple texture as the outerwear piece. This pushes forward the notion that one can wear whatever they feel comfortable when vacationing or heading to work. Another that felt meaningful was a denim two-piece suit created in a blue hue that felt modern. This set was worn with an enlarged weekender bag, a black beret, and aviator glasses.
There was also an outfit which was made up of a shirt, a long-sleeved silk overshirt, and a pair of shorts that flowed quite well. These pieces were created with a brilliant oceanside scene emblazoned onto them. What made this look work were brown leather sandals and a pink patterned fanny pack.
What were the accessories like?
In terms of footwear, there were loafers, closed-toe hook sandals, and leather utilitarian boots nearly up to one model’s knee. There were also a few oversized, logo tote bags–since the collection skewed into the arena of resort wear, there were also some bags that could serve as weekenders in lush leather variations. Jewelry was kept pretty minimal, and some necklaces worn looked like the hand-beaded jewelry found on beaches in countries like Jamaica.
Who was in attendance?
Louis Vuitton Attendees included Pusha T, Swizz Beatz, Swae Lee, and skateboarder Tyshawn Jones. There was also an assortment of global superstars who are based in South Korea, China, Japan, and more.
Was Pharrell involved in the music for the show?
Yes. “Airplane Tickets” and “Airplane Tickets (Ukulele version)” by Pharrell Williams, Swae Lee, and Rauw Alejandro were a part of the show. The arrangement and additional production were by Thomas Roussel. “Hong Kong Night” composed and produced by Thomas Roussel was also a part of the presentation.
TOPICS: Louis Vuitton Pharrell Williams Pusha T virgil ablohThe post Everything To Know About Pharrell’s Second Louis Vuitton Collection appeared first on Essence.
The ’90s were truly a golden era of television shows like Friends, Frasier, Seinfeld, and Martin. Despite many fans feeling that the series has more than earned its place in the Television Hall of Fame — yes, that’s been a thing since 1984 — the series has never been officially inducted, and neither has its star, Martin Lawrence.
That isn’t to say that the series and its actors haven’t received any other accolades (because it has). It was truly hard not to fall in love with Martin’s hijinks and the playful banter between him and Pam — his girlfriend’s best friend, who had mostly hate but sometimes sisterly love for Martin.
But the most endearing part of the series was the relationship between Martin and Gina, his long-time girlfriend, portrayed by Tisha Campbell. The reason Martin and Gina’s relationship is still one of the best aspects of Martin was that they don’t present a sugar-coated, flawless relationship. In fact, there are only a few couples in television history who have realistically captured the essence of a real, lived-in relationship quite like Martin and Gina, allowing this television couple to set the golden standard for realistic couples on TV.
Before we dive into why Martin and Gina worked so well as a realistic couple, let’s enjoy a small history lesson and introduce Martin to those who haven’t seen the show. Martin is an American television sitcom that ran for five seasons on Fox from 1992 to 1997. The show starred the legendary comedian Martin Lawrence as both the eponymous Martin and several other characters throughout the show as well. Martin was Fox’s highest-rated show during its run, and it’s often regarded as one of the most influential and pivotal sitcoms of all time.
Shifting our focus to Martin and Gina’s relationship, there is much to consider. If we had to summarize their dynamic coupling, we could say it’s aptly captured in The Stylistics‘ Break Up to Make Up song, which also reflects the emotional roller coaster often seen in real 3-D relationships. That’s what really sets Martin and Gina apart from most on-screen couples; they showed us a relationship with all its quirks, flaws, and ups and downs (Martin and Gina actually break up in the show). This made them both a refreshing and relatable paradigm to a ’90s television audience who appreciated nuance.
Many TV couples in sitcoms seem to live in a utopian world devoid of any real conflict, or the conflict is scarce. Martin, on the other hand, often employed comedic conflict in its narrative. Fortunately for the audience, the comedic technique wasn’t spared when it came to Martin and Gina’s relationship. The couple faces real issues: they argue, they make up, and they navigate the complexities of life together. Their relationship isn’t only about the highs; it is equally about the lows in their lives and how the couple manages to overcome difficulties.
And that’s precisely what makes Martin and Gina stand out. As stated above, many sitcom relationships are often idyllic, a constant that never (or almost never) changes while the rest of the narrative develops. Martin actually incorporates the relationship into the broader narrative as part of the characters’ respective development. We see both of them grow individually and as a couple, adapting to each other’s changes, which actually mirrors the trajectories of real-life relationships.
Their journey was anything but linear; it was filled with setbacks and learning experiences, painting an additional layer of realism on top of the story — like the time when Martin bought a giant TV or when Gina received an unusual Valentine’s gift. This aspect of their relationship is crucial, as it near perfectly depicts relationships in real life in which couples often face challenges that test their bond. The real-life nature of their relationship isn’t depicted through conflict alone; far from it, in fact. But it makes the depiction much more grounded in reality, as the couple doesn’t need any grand gestures to prove their love. Instead, their love is evident in their everyday interactions.
This approach to storytelling romance makes their relationship seem more life-like and more attainable. Perhaps the biggest contributing factor is Martin and Gina’s communication within the relationship. Both Martin and Gina are depicted as strong, independent personalities, and as such, they don’t shy away from expressing their feelings, be they love, frustration, or outright fury. The authentic expressions of these emotions make their communication loud and sometimes messy, with a smidge of misunderstanding.
Now, more than two decades later, Martin and Gina’s relationship is still the go-to golden standard for realistic couples that TV actors refer to when looking for realistic romantic depictions, especially in the comedy genre. Their relationship isn’t portrayed as some unattainably perfect fairy-tale romance. Instead, it showcases a genuine couple dynamic that was entirely relatable. Martin and Gina love each other; they offer support and comfort; they yell and fight and laugh and show what love is — an incredibly beautiful but unfiltered mess.
Celebrity interior designer and creative director Adair Curtis is passing along his experience for those hosting parties this holiday season.
The Styling Hollywood star recently teamed up with Crown Royal to celebrate the launch of Crown Royal Aged 30 Years, a newly released and limited-edition ultra-rare premium whisky. By way of a tasting hosted at a luxurious hotel in Santa Monica, California, Adair helped to design a space that provided the right ambiance for the whisky’s debut.
It was an ideal partnership for Curtis. Guests included his husband, celebrity stylist Jason Bolden, friends, and media.
“They really were looking for a way to Introduce the special whiskey to a discerning audience and they selected me,” Curtis tells BLACK ENTERPRISE. “I was obviously happy to oblige. I really love the brand and I’m a fan of whisky.”
Curtis was also paired up with a whisky expert who guided guests through a tasting of the new premium spirit. Place settings included note cards with guests’ names, a personal bottle of Crown Royal Aged 30 Years, and candles.
It’s a part of the essential design elements Curtis says are key when hosting an event.
“They allowed me the opportunity to design the evening,” he shares. That included “everything from the core elements such as what music would be played,” to the lighting and scent of the room.
As for what to keep in mind when hosting your own event this holiday season, the JSN Studio designer has three pieces of advice.
- Engage All Five Senses
“I like the opportunity for the holidays to really be able to engage all the senses,” Curtis says.
“So that’s everything from taste, and then design elements such as make sure that all of your tablescapes and your surfaces are designed,” he adds. “Don’t overlook anything. You want people to walk into the space where you’re hosting your event and really just be captivated by the scent, the visuals, or the sound.
“You want it to all really be intoxicating,” he adds.
- Create The Mood
“This can be through a personally curated music playlist, the lighting, and the overall aesthetic of the space.”
- Include A Takeaway
“You want to give them some takeaway that might be personal to them, or just a takeaway that reminds them of the good time that they just had,” Curtis explains.
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This month we look back on We’re Back! A Dinosaur’s Story, one of the three animated films produced by Steven Spielberg’s Amblimation and an unofficial animated companion to Jurassic Park. It was released on November 24, 1993, and unlike the aforementioned live-action dino-centric movie that year, it wasn’t a hit with critics or audiences.
The story begins with Buster the Bird (Blaze Berdahl) planning to run away from his family nest. But before he hits the skies, he chats with a friendly Tyrannosaurus rex, cleverly named Rex (John Goodman), who takes a break from playing golf to tell the birdie about his journey to becoming a talking dinosaur. It’s an odd tale to bookend the movie, but not the weirdest thing that will happen.
In a flashback, we see Rex in his natural carnivorous form as he’s plucked from prehistoric times by inventor/time traveler Captain Neweyes (Walter Cronkite) and his alien assistant Vorb (Jay Leno). He’s fed Brain Grain Cereal, triggering a visual and mental transformation that softens his terrifying appearance and gives him enough intelligence to become sentient. Rex then meets his fellow talking dinos — Woog (René Le Vant), a Triceratops, Elsa (Felicity Kendal), a Pteranodon, and Dweeb (Charles Fleischer, aka Roger Rabbit), a Parasaurolophus.
Neweyes shows them his Wish Radio, which captures kids wishing that dinosaurs were real. The quartet excitedly agrees to visit the American Museum of Natural History in New York City because every whimsical children’s tale takes place in NYC. Within minutes of descending into the city, they stumble upon the most New York kid ever, Louie (Joey Shea), who’s running away to the circus because his parents are too loving or something.
A chase sequence ends with him and Elsa flying into a massive and empty penthouse where they find Cecilia Nuthatch (Yeardley Smith), a Harry Potter character name if I ever heard one. The lonely girl, whose parents are too busy to pay attention to her, joins Louie as another adolescent human runaway and friend for the lovable dinos.
The most memorable scene of We’re Back is when they attempt to blend in at the Macy’s Thanksgiving Day Parade as giant dinosaur robots. That doesn’t last long because Rex decides to appease the kids in the audience and ends up singing the super catchy “Roll Back the Rock (To the Dawn of Time),” a song that’s covered by Little Richard in the end credits.
The kids are the first to meet the movie’s underdeveloped villain, Professor Screweyes (Kenneth Mars), the unhinged, evil opposite brother of Captain Neweyes whom the dinosaurs were warned about. He has a Fright Radio that lets him hear everyone’s fears, an implement which is essentially an idea machine to help him add scares to his Eccentric Circus. He has also created his own transformation concoction, which he dubbed Brain Drain, but instead of cereal, it comes in the form of pills.
This is where We’re Back gets dark. Louie is so desperate to join the circus that he willingly accepts a mysterious contract, signing his name in blood. Cecilia follows, presumably to stay with her friend and not because she wants to become a scary actor.
What makes this scene so creepy is that Screweyes seemingly has no interest or use for these kids but lets them sign themselves away anyway. However, it works out for him in the end because he gets something better. The kids’ dinosaur pals track them down and agree to be frightening attractions in exchange for letting Louie and Cecilia — who are temporarily turned into monkeys — break out of the binding contract.
Louie and Cecilia wake up human to find Stubbs (Martin Short), a jovial yet anxious clown who stands out amongst the decidedly dark atmosphere. Now they hatch their own plan to rescue their friends, who’ve devolved into ravenous monsters.
As you can see, the plot of We’re Back is both thin and kind of messy. But considering John Patrick Shanley (Moonstruck) penned the script based on Hudson Talbott’s 20-page book of the same name, it’s not that bad. Production began in 1990 with a rotation of directors working on the film at different times including Phil Nibbelink (Who Framed Roger Rabbit) and Simon Wells (Mars Needs Moms), along with brothers Dick and Ralph Zondag (Dinosaur). They probably could’ve expanded the story more if the runtime was longer than 71 minutes.
The music was composed by James Horner (Casper), the master of hauntingly whimsical scores. However, in a 2018 interview with SYFY Wire, Phil Nibbelink claimed that while the score was written by Horner, it was actually conducted by others. Either way, the score is perfect for the film’s shifting tones.
A noticeably odd aspect of the movie is the ensemble cast of big names. News anchor Walter Cronkite does well as the kind-hearted explorer, but it’s a bizarre choice, though maybe not as strange as chef/media personality Julia Child voicing museum curator Dr. Juliet Bleeb. The magnificent cast overall speaks to the draw of working with a giant like Spielberg.
We’re Back! A Dinosaur’s Story is a strange and forgettable tale that begins as a lighthearted yet melancholic story about friendship and temporarily descends into full-on nightmare fuel. It’s the type of deep-cut 1990s media you might vaguely recall, but since it’s talked about so little, you assume it must’ve been a fever dream. While the animation still holds up and the odd array of voices make it a fun watch, We’re Back! likely only appeals to those with a sense of nostalgia for the obscure title.
We’re Back! A Dinosaur’s Story is available to rent on Prime Video.