According to Louis Vuitton FW24, There is No Place Comparable to Home

We are no longer in Kansas. For Pharrell Williams' second collection for Louis Vuitton Men’s, the creative director draws from his worldwide perspective and returns to his roots, centering his Fall Winter 24 collection on American Western classics.

Pharrell Williams is universally recognized, and this is unequivocal. This is a reminder that the preparation for his third collection for Louis Vuitton Men’s, in his role as men’s creative director, was based on a narrative of travel. The creative director initially hinted to the comprehensive omniscience of Louis Vuitton in Paris with a premiere held on the Pont Neuf, one of the city's most iconic bridges. He subsequently altered his course slightly, according to the house's official maritime direction for its Cruise 25 collection in Hong Kong.

This internationality has consistently been an integral aspect of the maison's identity, characterized by explorative techniques grounded in a global perspective, originating from Marc Jacobs' tenure at the house. Nonetheless, when Pharrell unveils a subsequent collection grounded on local geography, it is difficult to overlook the arc delineated on his directional canvas.

The journey, clearly delineated, involves a return to North America to maybe reaffirm Pharrell's origins (Virginia represent!) or to nostalgically explore the notion that "home is where the heart is." Alternatively, it serves as an experiment in cultural identity formation for Pharrell's interpretation of Louis Vuitton. While Spring Summer 24 showcased Pharrell's inclinations, Fall Winter 24 reflects Pharrell's integration of his background into the brand, creating a sense of familiarity. The Louis Vuitton FW24 collection debuted, showcasing Pharrell's commitment to his global vision through a transatlantic journey that pays tribute to the history of his homeland.

Consequently, it is unsurprising that a pair of classically-cut, light-washed jeans would inaugurate the show — subtly visible beneath a meticulously made cream coat, elevated by a pair of cow hair-coated shoes, and complemented by an array of turquoise on a fundamental workday shirt. It encompassed centuries of American history, articulated in a unified, assertive declaration of cultural identity.

The collection is fully complete in its cowboy theme. The Americana-inspired hats, boots, and chaps, along with a collaboration with Timberland and the classic workwear designs in the collection, all reflect the accolades of traditional American culture upon which the sophomore collection is founded. It represents an expression of identity, albeit not a personal one for Pharrell or the typical American citizen. This narrative is globally recognized and is a significant aspect of American identity, so serving as a cornerstone element in the construction of Pharrell's Louis Vuitton universe.

Occasionally, the inclination towards Americanism becomes pronounced. In accordance with the portion-size preconceptions of the United States, Louis Vuitton embodies this sentiment by presenting an overwhelming representation of American culture. It extends beyond the sporadic cowboy hat or bolo tie. Visual interpretations of this Western tour culminate in a tangible synthesis of quintessential American culture. Parfleche and floral designs inspired by the Dakota and Lakota Nations are accompanied by full-bleed images of cowboys and cactus. The new bovine-inspired Damier design complements the Damier-inspired Buffalo Check and elaborately carved saddle leather in enhancing important bags for the season. A hero of the collection emerges not in a distinct form or outline but rather in the sun-faded Monogram and Damier-encased bags. It is a discreet tribute and nuanced depiction of the diligent mindset inherent in the quest for the American Dream. Assessing the commercially viable novelties—such as the previously mentioned cowboy hats, bolo ties, or pearl-embellished accessories—presents considerable complexity.

That is not inherently negative. The American Western narrative was never restricted to a conventional script regarding ranch dress, nor were its principal protagonists and antagonists fixed in definition. Pharrell is asserting that his global perspective encompasses not just Louis Vuitton's varied range of ready-to-wear and accessories but also influences casting and the inclusivity in the exploration of diverse rites and rituals. If collections one and two were odes to home, the inquiry persists: What lies ahead, Pharrell?