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The Academy Award-winning documentary short, “The Last Repair Shop,” opens with a young girl, Porché Brinker, holding her violin and talking with pride about her instrument. Directors Kris Bowers and Ben Proudfoot structure the short so we meet the Los Angeles Unified School District students who find joy and purpose in music, and the staff who lovingly repair those instruments for free. The intercutting between the students like Porché, the repair shop’s supervisor, Steve Bagmanyan—who pulls out files as examples of what the repair shop does— and the individual staff slowly builds a powerful narrative of the power of music in the lives of the students and the people who keep their instruments working as they tell their stories, some of which are deeply affecting.
Another part of the short that aids that narrative and the emotions of the stories told by the kids, Bagmanyan and his staff—Dana Atkinson, Duane Michaels, and Paty Moreno—is the look of the film. There’s a golden hue glowing warmly around everyone, and certain close-up shots accentuate the delicate work the staff does.
If you’ve ever wondered how a film gets a particular look or how a shot you admired was set up and put on film or digital, you go to the Director of Photography (also known as a cinematographer) and that’s where David Feeney-Mosier comes in. Feeney-Mosier’s job on “The Last Repair Shop” was to work closely with directors Bowers and Proudfoot to put their vision on the screen. The Nerd Element sent Mr. Feeney-Mosier several questions and he graciously answered in depth below, discussing his beginnings in camera work (skateboarding!), how he became a DP, what it was like to work on “The Last Repair Shop,” and because we’re nerds, about the cameras and lenses he likes using. (The interview below was lightly edited for clarity.)
The Nerd Element: Could you tell us how you became a director of photography? Was there a particular film or DP who inspired you?
David Feeney-Mosier: I suppose the real origins for me are in skateboarding. Growing up I became interested in still photography at a young age, maybe eight or nine. My dad had an old Nikon 35mm SLR that he taught me to shoot on. Around the same age I began skateboarding. All the way through high school, skateboarding was the focal point of my life. Everything revolved around it. I began making skate videos with my friends, and learned to edit at home on Final Cut. That was really the beginning of my interest in cinematography, and from there my appreciation for filmmaking grew.
I went on to go to film school, and was very inspired by directors like Spike Jonze and his cinematographer Lance Acord, who also came into film through the world of skateboarding. Film school also opened me up to so many other amazing filmmakers and cinematographers from all over the world, and from generations past. It was a wonderful time where I felt equally excited learning about MGM musicals and the Hong Kong New Wave. That’s where I became a true cinephile.
Shortly after graduation I moved to New York City. I started in the film industry as a Production Assistant (PA) for a year to two, then got my first job in the camera department, and in 2009 I joined Local 600 as a 2nd Assistant Camera (AC) on a movie called The Romantics. That film was my first time working with DP Sam Levy, who would go on to be a real mentor to me. After The Romantics, I became Sam’s 1st AC, and we worked on six films together, including Noah Baumbach’s Frances Ha, Mistress America, and While We’re Young. After I stopped assisting, I continued to work with Sam, shooting 2nd Unit on Lady Bird. Sam’s support and guidance has been instrumental in my development as a DP.
TNE: I noticed that you have worked previously with director Kris Bowers on a teaser for the L.A. Philharmonic. Is that how you came to work on “The Last Repair Shop,” which Bowers co-directed?
DF-M: Interestingly, I worked with Kris and his wife Briana on that project for the LA Phil after we began The Last Repair Shop. We started shooting The Last Repair Shop in 2019, and then picked up again in 2022 and 2023. I think my involvement with The Last Repair Shop was actually the reason I ended up shooting for Kris and Briana on the LA Phil project, which was a very interesting series of short films that accompanied a live performance Kris was doing at Disney Hall.
I believe the reason I became involved in The Last Repair Shop is because of a short doc I shot in 2018 called Jim Svedja: Between the Notes. Ben Proudfoot saw the film, and apparently liked my work on it, and reached out to me. Shortly after that, he approached me about shooting a new project of his, which ended up becoming The Last Repair Shop.
TNE: What was your process working with directors Bowers and Ben Proudfoot? As an example, the film uses a lot of close-ups of instrument parts and tight head shots. What kind of work went into making sure the shots matched the directors’ vision?
DF-M: Early on we had some discussions about our general approach to the film. We wanted to favor intentional shot design and a slightly stylized lighting approach over a purely cinema verité approach. We still wanted the film to feel authentic, grounded in reality, but at the same time more composed and slightly elevated. To this end, we chose to shoot on anamorphic lenses, creating a bit more of a subjective feel. I enjoyed this hybrid approach to documentary filmmaking, even though of course it’s not always possible.
Ben has been making short documentaries for years, and is truly a master of them. For interviews, he has long favored the interrotron* setup, which allows the subject to look directly into the camera lens and see the person conducting the interview, in this case Ben. We always shot the interviews on the same lens, at roughly the same distance from camera. Ben and Kris really love the intimacy and confessional quality of such a tight interview frame.
For the rest of the film we really just wanted to feel in a very textural way what the process of repairing these various instruments was like. So we decided to utilize a lot of macro work to really enhance those details. We also wanted to keep the palette of the film warm and dark, so that influenced our lighting decisions.
TNE: Speaking of the close-ups, how did you get the proper lighting on the extreme close-ups (e.g., the early shot where we see the tools going inside the violin)?
DF-M: That was a tricky one! We had the idea for that shot, and ended up cutting the bottom off of a cello so that we could actually fit the lens inside the bottom of the instrument. All the light was coming from outside, through the holes in the body of the instrument, and we pumped a little haze inside to spread the light. That shot was a lot of fun, and a great example of bringing a more choreographed shot to the documentary.
TNE: Another striking visual in the film was the lighting up of the saxophone keys. What do you need to do as the DP to realize such a striking visual?
DF-M: Honestly a lot of that was beginning with just observing how the technicians actually work, and finding which actions and moments would lend themselves best to being photographed. In that instance, there is actually a tool they use to detect air gaps in the keys, which is simply a small light bulb that is inserted into the body of the instrument. For other shots it was a matter of turning off overhead lights, and enhancing and modifying a more focused light (sometimes just a single word lamp) for a more dramatic effect.
TNE: What was the most challenging part of realizing the look of “The Last Repair Shop”? I loved the warm glow of the whole documentary, for instance. It heightened the emotion for me.
DF-M: Much of the look of the film was inspired by the repair shop itself. We were amazed at how trapped in time the space felt. It seemed relatively unchanged from the 1970’s/80’s, with a heavy, warm patina throughout. The ceiling-high shelves that filled the shop were lined with leather cases, brass instruments, and the rich mahogany tones of the string instruments. The work stations were almost entirely wood as well, and lit primarily with tungsten work lights. This again influenced us to lean into the warmer hues of the space, and carry that throughout the film. I think this color palette also has an emotional effect. It creates a sense of coziness, comfort, and hope. We wanted to repair shop to feel like a sanctuary, not a cold, clinical place.
TNE: What different challenges are presented when you work on a short documentary versus a feature film or a television episode? For instance, “The Last Repair Shop” versus “The Black Phone” or “Lady Bird” versus an episode of “Stranger Things”?
DF-M: Because we aimed to approach the film with a more narrative aesthetic, it did not feel all that different from the feature and commercial work I’d done predominantly in my career. We would create shot lists, and take the time to design, block, and light shots. I think there is an incredible freedom to taking this approach to a documentary. We had a very small crew and we were not working with an extremely tight schedule, as is usually the case in TV and features, so that enabled us to really take our time to observe, react, and create interesting shots without the pressures of needing to rush. This is of course not always the case with documentaries, in fact probably quite rarely, but I found it a very comfortable environment which really allowed us to be creative.
Most of the time the crew was very small, just an AC and myself. The exception would be the end credits sequence, which was staffed more like a traditional film shoot, and was quite an ambitious shoot day. We had two cameras, Orlando Duguay operated steadicam, Mike Simpson operated B camera, Jordan Pellegrini and Jordan Scott were our focus pullers, and gaffer Kazmo Kida, electrician Quinn Brudos-Sommers, and balloon tech Brian Scotti did an amazing job setting up a large helium balloon light overhead, which allowed us to move quickly throughout the recording stage, which was filled with over 100 musicians.
TNE: Could you tell us what your favorite lenses and cameras are to work with?
DF-M: It varies from project to project. For digital, I’m a big fan of the Arri Alexa. We used the Alexa Mini and Cooke Anamorphics for The Last Repair Shop. But certain jobs call for certain looks, so I don’t necessarily have one pairing I always use. I love shooting film when the job allows.
TNE: What’s a question you wish someone would ask you that you haven’t been asked before?
DF-M: I don’t know that there is necessarily a question I wish people would ask, but one thing that does feel important to relay is a message of hope and encouragement to aspiring DPs of any age who are working as crew members. I think it’s becoming a bit less common that DPs work their way up through a particular department, and I think that’s quite unfortunate. I take pride in having worked as a camera assistant for many years. I think it’s a wonderful way to learn what it takes to make a film, from a technical and logistical perspective. You get to work with other DPs, and learn from them, and there’s immense value in that. It also gives you a more well-rounded experience, and hopefully creates more empathetic department heads.
TNE: Is there anything you’d like our readers to know that I haven’t asked you about?
DF-M: I’d just like to thank directors Ben Proudfoot and Kris Bowers, everyone at Breakwater Studios, who have become like family to me, and all of the crew who worked on this film. And also, all of the educators and technicians who work at the LAUSD instrument repair shop!
To learn more about David Feeney-Mosier, visit https://www.davidfeeneymosier.com/
*Editorial note: The Interrotron was invented by documentarian Errol Morris. Read more about it here: https://www.errolmorris.com/content/eyecontact/interrotron.html
The post The Nerd Element Conversation with Director of Photography David Feeney-Mosier appeared first on The Nerd Element.
The Academy Award-winning documentary short, “The Last Repair Shop,” opens with a young girl, Porché Brinker, holding her violin and talking with pride about her instrument. Directors Kris Bowers and Ben Proudfoot structure the short so we meet the Los Angeles Unified School District students who find joy and purpose in music, and the staff who lovingly repair those instruments for free. The intercutting between the students like Porché, the repair shop’s supervisor, Steve Bagmanyan—who pulls out files as examples of what the repair shop does— and the individual staff slowly builds a powerful narrative of the power of music in the lives of the students and the people who keep their instruments working as they tell their stories, some of which are deeply affecting.
Another part of the short that aids that narrative and the emotions of the stories told by the kids, Bagmanyan and his staff—Dana Atkinson, Duane Michaels, and Paty Moreno—is the look of the film. There’s a golden hue glowing warmly around everyone, and certain close-up shots accentuate the delicate work the staff does.
If you’ve ever wondered how a film gets a particular look or how a shot you admired was set up and put on film or digital, you go to the Director of Photography (also known as a cinematographer) and that’s where David Feeney-Mosier comes in. Feeney-Mosier’s job on “The Last Repair Shop” was to work closely with directors Bowers and Proudfoot to put their vision on the screen. The Nerd Element sent Mr. Feeney-Mosier several questions and he graciously answered in depth below, discussing his beginnings in camera work (skateboarding!), how he became a DP, what it was like to work on “The Last Repair Shop,” and because we’re nerds, about the cameras and lenses he likes using. (The interview below was lightly edited for clarity.)
The Nerd Element: Could you tell us how you became a director of photography? Was there a particular film or DP who inspired you?
David Feeney-Mosier: I suppose the real origins for me are in skateboarding. Growing up I became interested in still photography at a young age, maybe eight or nine. My dad had an old Nikon 35mm SLR that he taught me to shoot on. Around the same age I began skateboarding. All the way through high school, skateboarding was the focal point of my life. Everything revolved around it. I began making skate videos with my friends, and learned to edit at home on Final Cut. That was really the beginning of my interest in cinematography, and from there my appreciation for filmmaking grew.
I went on to go to film school, and was very inspired by directors like Spike Jonze and his cinematographer Lance Acord, who also came into film through the world of skateboarding. Film school also opened me up to so many other amazing filmmakers and cinematographers from all over the world, and from generations past. It was a wonderful time where I felt equally excited learning about MGM musicals and the Hong Kong New Wave. That’s where I became a true cinephile.
Shortly after graduation I moved to New York City. I started in the film industry as a Production Assistant (PA) for a year to two, then got my first job in the camera department, and in 2009 I joined Local 600 as a 2nd Assistant Camera (AC) on a movie called The Romantics. That film was my first time working with DP Sam Levy, who would go on to be a real mentor to me. After The Romantics, I became Sam’s 1st AC, and we worked on six films together, including Noah Baumbach’s Frances Ha, Mistress America, and While We’re Young. After I stopped assisting, I continued to work with Sam, shooting 2nd Unit on Lady Bird. Sam’s support and guidance has been instrumental in my development as a DP.
TNE: I noticed that you have worked previously with director Kris Bowers on a teaser for the L.A. Philharmonic. Is that how you came to work on “The Last Repair Shop,” which Bowers co-directed?
DF-M: Interestingly, I worked with Kris and his wife Briana on that project for the LA Phil after we began The Last Repair Shop. We started shooting The Last Repair Shop in 2019, and then picked up again in 2022 and 2023. I think my involvement with The Last Repair Shop was actually the reason I ended up shooting for Kris and Briana on the LA Phil project, which was a very interesting series of short films that accompanied a live performance Kris was doing at Disney Hall.
I believe the reason I became involved in The Last Repair Shop is because of a short doc I shot in 2018 called Jim Svedja: Between the Notes. Ben Proudfoot saw the film, and apparently liked my work on it, and reached out to me. Shortly after that, he approached me about shooting a new project of his, which ended up becoming The Last Repair Shop.
TNE: What was your process working with directors Bowers and Ben Proudfoot? As an example, the film uses a lot of close-ups of instrument parts and tight head shots. What kind of work went into making sure the shots matched the directors’ vision?
DF-M: Early on we had some discussions about our general approach to the film. We wanted to favor intentional shot design and a slightly stylized lighting approach over a purely cinema verité approach. We still wanted the film to feel authentic, grounded in reality, but at the same time more composed and slightly elevated. To this end, we chose to shoot on anamorphic lenses, creating a bit more of a subjective feel. I enjoyed this hybrid approach to documentary filmmaking, even though of course it’s not always possible.
Ben has been making short documentaries for years, and is truly a master of them. For interviews, he has long favored the interrotron* setup, which allows the subject to look directly into the camera lens and see the person conducting the interview, in this case Ben. We always shot the interviews on the same lens, at roughly the same distance from camera. Ben and Kris really love the intimacy and confessional quality of such a tight interview frame.
For the rest of the film we really just wanted to feel in a very textural way what the process of repairing these various instruments was like. So we decided to utilize a lot of macro work to really enhance those details. We also wanted to keep the palette of the film warm and dark, so that influenced our lighting decisions.
TNE: Speaking of the close-ups, how did you get the proper lighting on the extreme close-ups (e.g., the early shot where we see the tools going inside the violin)?
DF-M: That was a tricky one! We had the idea for that shot, and ended up cutting the bottom off of a cello so that we could actually fit the lens inside the bottom of the instrument. All the light was coming from outside, through the holes in the body of the instrument, and we pumped a little haze inside to spread the light. That shot was a lot of fun, and a great example of bringing a more choreographed shot to the documentary.
TNE: Another striking visual in the film was the lighting up of the saxophone keys. What do you need to do as the DP to realize such a striking visual?
DF-M: Honestly a lot of that was beginning with just observing how the technicians actually work, and finding which actions and moments would lend themselves best to being photographed. In that instance, there is actually a tool they use to detect air gaps in the keys, which is simply a small light bulb that is inserted into the body of the instrument. For other shots it was a matter of turning off overhead lights, and enhancing and modifying a more focused light (sometimes just a single word lamp) for a more dramatic effect.
TNE: What was the most challenging part of realizing the look of “The Last Repair Shop”? I loved the warm glow of the whole documentary, for instance. It heightened the emotion for me.
DF-M: Much of the look of the film was inspired by the repair shop itself. We were amazed at how trapped in time the space felt. It seemed relatively unchanged from the 1970’s/80’s, with a heavy, warm patina throughout. The ceiling-high shelves that filled the shop were lined with leather cases, brass instruments, and the rich mahogany tones of the string instruments. The work stations were almost entirely wood as well, and lit primarily with tungsten work lights. This again influenced us to lean into the warmer hues of the space, and carry that throughout the film. I think this color palette also has an emotional effect. It creates a sense of coziness, comfort, and hope. We wanted to repair shop to feel like a sanctuary, not a cold, clinical place.
TNE: What different challenges are presented when you work on a short documentary versus a feature film or a television episode? For instance, “The Last Repair Shop” versus “The Black Phone” or “Lady Bird” versus an episode of “Stranger Things”?
DF-M: Because we aimed to approach the film with a more narrative aesthetic, it did not feel all that different from the feature and commercial work I’d done predominantly in my career. We would create shot lists, and take the time to design, block, and light shots. I think there is an incredible freedom to taking this approach to a documentary. We had a very small crew and we were not working with an extremely tight schedule, as is usually the case in TV and features, so that enabled us to really take our time to observe, react, and create interesting shots without the pressures of needing to rush. This is of course not always the case with documentaries, in fact probably quite rarely, but I found it a very comfortable environment which really allowed us to be creative.
Most of the time the crew was very small, just an AC and myself. The exception would be the end credits sequence, which was staffed more like a traditional film shoot, and was quite an ambitious shoot day. We had two cameras, Orlando Duguay operated steadicam, Mike Simpson operated B camera, Jordan Pellegrini and Jordan Scott were our focus pullers, and gaffer Kazmo Kida, electrician Quinn Brudos-Sommers, and balloon tech Brian Scotti did an amazing job setting up a large helium balloon light overhead, which allowed us to move quickly throughout the recording stage, which was filled with over 100 musicians.
TNE: Could you tell us what your favorite lenses and cameras are to work with?
DF-M: It varies from project to project. For digital, I’m a big fan of the Arri Alexa. We used the Alexa Mini and Cooke Anamorphics for The Last Repair Shop. But certain jobs call for certain looks, so I don’t necessarily have one pairing I always use. I love shooting film when the job allows.
TNE: What’s a question you wish someone would ask you that you haven’t been asked before?
DF-M: I don’t know that there is necessarily a question I wish people would ask, but one thing that does feel important to relay is a message of hope and encouragement to aspiring DPs of any age who are working as crew members. I think it’s becoming a bit less common that DPs work their way up through a particular department, and I think that’s quite unfortunate. I take pride in having worked as a camera assistant for many years. I think it’s a wonderful way to learn what it takes to make a film, from a technical and logistical perspective. You get to work with other DPs, and learn from them, and there’s immense value in that. It also gives you a more well-rounded experience, and hopefully creates more empathetic department heads.
TNE: Is there anything you’d like our readers to know that I haven’t asked you about?
DF-M: I’d just like to thank directors Ben Proudfoot and Kris Bowers, everyone at Breakwater Studios, who have become like family to me, and all of the crew who worked on this film. And also, all of the educators and technicians who work at the LAUSD instrument repair shop!
To learn more about David Feeney-Mosier, visit https://www.davidfeeneymosier.com/
*Editorial note: The Interrotron was invented by documentarian Errol Morris. Read more about it here: https://www.errolmorris.com/content/eyecontact/interrotron.html
The post The Nerd Element Conversation with Director of Photography David Feeney-Mosier appeared first on The Nerd Element.
By Rivea Ruff ·Updated April 1, 2024
Only one weekend into her COWBOY CARTER era, Beyoncé has broken ground and multiple records on the charts.
Music streaming giant Spotify announced on Friday that the album had officially crossed the threshold as the most-streamed album of 2024 thus far, mere hours into its release. The album also smashed records for Amazon Music streaming, breaking ground as the most-first-day-streamed Country album from a female artist in the DSP’s streaming history, via Billboard.
This comes on top of the accolades its lead single, “TEXAS HOLD ‘EM,” garnered even before the full album release, landing on the charts across nine genres and propelling Beyoncé to become the first Black female artist to reach the top slot on the Hot Country Songs chart. She also now holds the position of first Black woman to land a number onw on the Hot 100 Chart with a Country song.
Beyoncé has leaned fully into her new role as the reigning queen of Country, recently posing for W Magazine‘s first-ever digital cover in a western-themed shoot reminiscent of her 2011 ESSENCE Magazine cover where she first planted her aesthetic seeds in Country soil.
Photo: Pamela Hanson “I feel honored to be the first Black woman with the number one single on the Hot Country Songs chart,” the songstress wrote to fans ahead of her album’s release. “That would not have happened without the outpouring of support from each and every one of you. My hope is that years from now, the mention of an artist’s race, as it relates to releasing genres of music, will be irrelevant.”
It seems Bey’s hopes are already coming to fruition, as there has been an exponential uptick in streaming for the Black Country artists she featured on her project, via The Hollywood Reporter. Spotify reports that songstress Tiera Kennedy experienced a 40,000 percent increase in catalog listens and 110% uptick in first-time streams. Similarly, both social media Country darling Tanner Adell’s and Nashville crooner Reyna Roberts’ first-time streams each have shot up 125%.
Brittney Spencer‘s first-time spins shot up 170%, with her overall streams increasing by 37,220 percent. Interest in Willie Jones and Shaboozey spiked with 75% and 70% in first-time streams, respectively.
With the songstress having taken over five years to carefully craft her Country masterpiece, Beyoncé’s process has shaped the cultural zeitgeist over the past three years. “I recorded probably 100 songs,” Beyoncé said in a statement. “It’s been really great to have the time and the grace to be able to take my time with it.”
Photo: Pamela Hanson. “I was initially going to put COWBOY CARTER out first, but with the pandemic, there was too much heaviness in the world. We wanted to dance. We deserved to dance. But I had to trust God’s timing.”
“I think people are going to be surprised because I don’t think this music is what everyone expects,” Beyoncé said upon the album’s release. “But, it’s the best music I’ve ever made.”
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TOPICS: beyoncé Beyonce black cowboy country music Cowboy CarterThe post ‘COWBOY CARTER’ Breaks Single-Day Streaming Record In Just 24 Hours appeared first on Essence.
WWD via Getty Images By Robyn Mowatt ·Updated April 1, 2024
Beyoncé’s COWBOY CARTER is a moment in which the generational icon embraces her roots in a way that we’ve never seen before. She is unafraid to unleash what directly links her to the past generations of her family, her Southern lineage. These depths she dives deep into allow her to reclaim her heritage uniquely. The rollout of her latest compilation was injected with nods to Western culture, emphasizing cowboy hats, oversized buckled belts in assorted tones, and the use of the American flag. On the album cover, the striking horse points to the importance of equestrian culture not just out West but also in major Southern cities like Houston, Texas.
High fashion elements are also included as a part of this cowgirl era–this arrived in the form of fitted leather chaps also seen on the album cover which accentuated her curves. In a separate image, a white tank top also took on a new meaning when paired with denim chaps from Louis Vuitton’s newest menswear collection by Pharrell Williams. This distinct rollout shot fused a laidback item with a significant piece signaling this might be the icon’s most fashionable era yet.
Below, we’re keying in on five standout tracks from COWBOY CARTER and pairing them with looks from designers we love.
“TEXAS HOLD EM“
Model on the runway at Louis Vuitton Men’s Fall 2024 as part of Paris Men’s Fashion Week held at Jardin d’Acclimatation on January 16, 2024 in Paris, France. (Photo by Giovanni Giannoni/WWD via Getty Images) “TEXAS HOLD EM” is a cutesy and energetic bop that got fans invested in COWBOY CARTER when it was first revealed. It also presents Bey’s experimentation within the Americana music market. Pharrell Williams took the cowboy aesthetic for a spin in his Fall/Winter 2024 collection. One look in particular aligns with this single–a tan suede collared button-up and dark brown leather trousers. The gold-tone buckle belt was a killer addition to this outfit.
“LEVII’S JEANS“
PARIS, FRANCE – FEBRUARY 29: (EDITORIAL USE ONLY – For Non-Editorial use please seek approval from Fashion House) A model walks the runway during the Schiaparelli Womenswear Fall/Winter 2024-2025 show as part of Paris Fashion Week on February 29, 2024 in Paris, France. (Photo by Estrop/Getty Images) This laidback track in which Bey croons about her affinity for her life partner and husband Jay-Z, featuring Post Malone, is deserving of a look that feels not too flashy. Schiaparelli’s Fall/Winter 2024 presentation by Daniel Goldberry included a nearly all-denim outfit. The spin on the Canadian tuxedo featured a denim jacket with golden buttons and a matching midi skirt. Grey shades, a light blue boxy handbag, and chic maroon pumps were the finishing touches on this outfit.
“JOLENE“
PARIS, FRANCE – FEBRUARY 29: (EDITORIAL USE ONLY – For Non-Editorial use please seek approval from Fashion House) A model walks the runway during the Schiaparelli Womenswear Fall/Winter 2024-2025 show as part of Paris Fashion Week on February 29, 2024 in Paris, France. (Photo by Estrop/Getty Images) Since “JOLENE,” a standout off of the album, ethers into a bit of dark energy, an all-black outfit is most fitting. Within Schiaparelli’s latest runway show, there was a look that spoke to this track. The outfit consisted of a semi-transparent floral top, oversized satin trousers, and a sleek belt. Cowboy-inspired pointed-toe shoes are a striking accessory that adds a hint of minimalism.
“RIIVERDANCE“
NEW YORK, NEW YORK – FEBRUARY 12: A model walks the runway at the Laquan Smith fashion show during New York Fashion Week: The Shows on February 12, 2024 in New York City. (Photo by John Lamparski/Getty Images) This would have been an off-kilter single, but sadly it wasn’t chosen. “RIIVERDANCE” is sultry, eloquent and well-produced. There are some soul and funk elements all over this track moreso than country elements–with that being said the ‘70s are calling us. In LaQuan Smith’s most recent collection, which was presented at NYFW in February, there is a sequined mini frock that speaks profoundly to the flow of this staple on the album.
“SWEET HONEY BUCKIIN“
NEW YORK, USA – FEBRUARY 12: A model walks the runway during the Sergio Hudson Ready to Wear Fall/Winter 2024-2024 fashion show as part of the New York Fashion Week on February 12, 2024 in New York. (Photo by Victor VIRGILE/Gamma-Rapho via Getty Images) Once “SWEET HONEY BUCKIIN” cranks on the album is nearly done. This track has some hints of the bass-heavy beats that derived in the Southern states. Since Sergio Hudson has roots in the South, Ridgeway, South Carolina to be exact, a bustier-centric look from his last collection is most fitting. Bey loves showcasing her décolletage so I immediately thought of Hudson’s February ready-to-wear line. The crisp leather bustier is the center of the look and it’s paired with a brown lengthy dress. Brown suede boots top off this classic ensemble.
TOPICS: beyoncé laquan smith Louis Vuitton Schiaparelli sergio hudsonThe post 5 Songs On Beyoncé’s “Cowboy Carter” And The Runway Looks Each Embodies appeared first on Essence.