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Club L London is the next-generation online fashion retailer for the forward-thinking consumer. Founded in 2007 Club L was created with the vision of offering long lasting luxury styles, trend-oriented collections with a twist and unique, statement designs that offer both exceptional quality and fit in an otherwise saturated market of fast fashion and throw away goods. Expertly designed and crafted in-house, Club L specialises in accessible luxury, unique designs and unrivalled quality made to flatter every figure.

We manufacture everything in house and abroad and so apart from fit, quality and design it's imperative that we source and manufacture in an ethical and environmentally friendly way. At Club L our team are like family so ensure all our staff are paid fairly and have full access to company benefits. We are also working hard to ensure that we are environmentally conscious throughout the production process. We now ship 85% of all goods by sea and have reduced packaging by 60% since 2019.

We are passionate about nurturing upcoming talent within the fashion industry whether it be design and development, marketing and PR, digital tech, creative, social or customer services within a diverse and collaborative environment. Our team is dedicated, ambitious and hard-working and with a prestigious portfolio of global partners and a rapidly growing e-commerce team, there are numerous opportunities to join Club L's influential team and take your career to the next level. This position is perfect for anyone looking to get into the fashion industry and progress further.

Roles and Responsibilities PO/Delivery Management:

Full ownership of Intake for your categories: Oversee and manage the critical path, ensuring all styles are in on time and lateness is flagged, to ensure availability is maintained at 100% and all launches are on time

Supplier/ production team communication, ability to chase intake and make commercial decisions

Rebuy management: Ensure replenishment levels on bestsellers are sufficiently high and trade out of slow sellers and work closely with the buying and garment tech team to identify and rebuy refits, and all newness is fit approved on time

Wholesale: Send buysheets, raise orders & build a strong report with WS partners

Raise and amend purchase purchase orders

Analyse and review best/worst sellers weekly, providing trade actions to the Merchandiser

Providing trade reports and documents for the team every Monday, as well as trade analysis

Review rebuys weekly, making commercial decisions based on lead time and seasonality

Reviewing under and overstocks with suggested actions to maintain a healthy stock position

Update and maintain line cards, proposing actions

Action daily price and date amends

Other:
Support the Merchandising Admin Assistant with all administrative tasks including accurately updating and sharing working documents

Organisation & Accuracy

At least 1 years experience in Merchandising

Previous experience working in a fast-paced environment

Strong excel skills [Intermediate to advance level]

Highly organised and strong attention to detail

Ability to build strong supplier relationships and work collaboratively as a team

A good communicator and being able to build relationships with multiple teams across the business

Quick to identify issues and have good initiative to provide appropriate solutions.

What's on offer?
Establish working relationships with GT, Design, Warehouse & Supply base

Competitive salary

25 days of annual leave with an extra day of leave for your birthday, exclusive of bank holidays

Flexible working hours around core hours of 10-4

Early Finish Fridays

Cycle to work scheme

40% staff discount

Healthcare Cashplan

Salary advances

Free onsite gym

AbleFutures

Annual bonus scheme

Social events

Free snacks, drinks & treats

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Merchandising Admin Assistant - Club L London

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About us Club L London is the next-generation online fashion retailer for the forward-thinking consumer. Founded in 2007 Club L was created with the vision of offering long lasting luxury styles, t...

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Are you looking for a company that pushes the boundaries and creates a community inclusive of everyone? A shared vision beyond only us?

If you answered yes, why not join us? This could be your first step towards a new and exciting career at COS! We are now looking for a Social Media Intern to join our Brand and Communications team on a full-time 6-month contract.

About COS: Offering innovative design, elevated essentials and wardrobe icons, COS is a fashion brand rooted in contemporary culture. From the beginning, our design ethos has always put lasting style, quality and sustainability first. Today 92% of the materials in our collection are more sustainably sourced.
What you will do:

Social media scheduling, posting, and monitoring ​

Support with content planning and ideation ​

Maintain an overview of competitor activities​

Keep up to date with emerging social media platforms and trends to enable brainstorming and research​

Assisting with reporting on a weekly, monthly and quarterly basis, developing a comprehension of what content works on different channels​

Assisting with community management and customer service​

Assist with maintaining a clear overview of stock across regions, to communicate product at relevant times​

What are the learning outcomes:

Gain knowledge and understanding of social media platforms and practices in a global fashion company​.

Experience in day-to-day execution of content on social media accounts with a strategic and commercial mindset​.

Gain an understanding of larger brand projects, from ideation and creation to analysis​.

Learn how to maintain and grow social media communities and create strong brand-lead messaging​.

Become an expert in using a variety of social media tools for creation and analysis​.

Qualifications
Alignment to our company values is the most important characteristic we look for in all new joiners. Our values are the behaviours that we appreciate above and beyond anything else. We are open-minded and curious, we dare to be different, we believe in constant improvement and we empower and trust you to take ownership. Our values are part of who we are, what we stand for and how we act.
In addition to our values for this role we are also looking for:

Keen interest in Social Media and the different platforms​

A relevant fashion/marketing degree​

A team player with a positive, can do attitude​

Strong communication skills​

Excellent organisational skills

Additional Information

Why choose COS?

At COS we love welcoming new people and work hard to provide an environment where everyone feels appreciated and valued. We celebrate individual differences and recognise the contribution that all our colleagues make, regardless of their background.

When you first join COS, you will have a full introduction, excellent training, and a team that will support you during your first days, weeks and months. In addition to this you will also receive lots of fantastic benefits including:

25% staff discount on all H&M Group brands.

A generous holiday entitlement.

Annual Health Checks

Pension Scheme

Discounted Gym Membership

Our Culture

Over the last 10 years we have carefully built a culture where our people are supported, inspired and encouraged to be the best they can. Our brand is creative, forward thinking and modern; choosing longevity over passing trends.

We set the bar high at COS; we are committed to recruiting great people, offering an environment where talent is recognised and valued. We believe that a diverse workforce plays an important role in the success of COS. We celebrate individual differences and appreciate the contribution that all our colleagues make.

Ready to apply? Click on the I'M INTERESTED link where you can upload your CV securely. Once we have received your application, we will keep you updated regularly about the status of your application so please look out for our email.

We are looking forward to hearing from you!

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WE ARE MORE THAN JUST A CLOTHING BRAND; WE ARE ON A MISSION TO TRANSFORM THE FUTURE OF FASHION Are you looking for a company that pushes the boundaries and creates a community inclusive of everyone? A shared vision beyond only us? If you answered yes, why not join us?

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E-Commerce Growth Lead will be responsible for playing a crucial part in driving the growth and expansion of Charles & Keith's E-Commerce business unit. The successful applicant will be responsible for the development and execution of the business development strategies, identifying new business opportunities, building strong relationships with key stakeholders and teams, and providing actionable insights to support data-driven decision-making.
Responsibilities:

Develop and execute a comprehensive business development plan aligned with the company's goals and objectives

Identify new market opportunities and potential areas for growth

Recruit, train, and mentor a team of business development professionals

Set clear performance targets and provide ongoing feedback and support

Identify and establish partnerships with key industry players, stakeholders, and potential clients

Develop and implement a comprehensive ECommerce sales strategy aligned with overall business objectives whilst maintaining profitability

Managing sales performance & KPI (sales / customers / product / operations)

Conduct thorough market research to identify trends, customer needs, and competitor analysis

Analyze data to make informed and sound business decisions and recommendations.

Work closely with product, marketing, and operations teams to ensure alignment and support for business development initiatives

Accountable for the ECommerce sales revenue

Oversee the sales pipeline, track progress, and ensure timely follow-ups with potential clients

Monitor and report on key performance indicators (KPIs) related to business development activities

Develop and implement revenue models to maximize profitability

Meet and exceed revenue targets set by the Management

Requirements:

Bachelor's Degree in related fields, such as Business Administration

Deep understanding of ECommerce trends and dynamics within the fashion industry

Extensive experience in negotiation, communication, and presentation skills

Proven ability to lead and motivate a high-performing team

Ability to thrive in a fast-paced and dynamic environment

Keen sense of fashion and a passion for the fashion industry

Experience in the fashion industry would be beneficial

Application

Please apply with a CV and cover letter via the application form.

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E-Commerce Growth Lead will be responsible for playing a crucial part in driving the growth and expansion of Charles & Keith's E-Commerce business unit. The successful applicant will be responsible for the development and execution of the business development strategies, identifying new business opportunities, building strong relationships with key stakeholders and teams, and providing actionable insights to support data-driven decision-making.

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We are looking for a PR and Brand Marketing Manager to join our Brand Creative and Communications Team to focus on delivering omnichannel campaigns and brand events.

This is an exciting opportunity which will see you champion our Hobbs profile, deliver our seasonal marketing and PR strategy as well as manage the day-to-day planning and operations of the Hobbs press office.
In this role key accountabilities will include;

Propose, develop and implement the seasonal PR/Brand Marketing communication strategy, proposing the budget required to deliver the plan

Evaluate the success of all local marketing activities and evaluate the performance of campaigns, providing commentary on performance and lessons learnt

Work in close collaboration with the wider content team to identify high performing and brand relevant content creators for paid partnership opportunities

Foster strong relationships with our entire advocacy network of press, content creators, stylists and VIP clients both in the UK and International markets - proactively engaging within this network to ensure they're informed of collection launches, sample availability and events

About You

As a PR and Marketing Manager you will be data-driven and customer-led in your approach all the while being aware of our Hobbs brand positioning and messaging. We will need you to demonstrate excellent people skills with the natural ability to engage and influence others.

As this opportunity will see you focus on content, press and VIP relations, local marketing and press office operations we would need you to demonstrate outstanding communication skills and knowledge of the fashion industry and key press titles. Knowledge of Microsoft Office Suite, Hootsuite and Launchmetrics is key for success in this role.
About Us

Across the TFG Brands, we pride ourselves on having our people at the heart of everything we do and we really believe that a career in retail is unbeatable. We will give you the tools and the time to develop your career in the direction you want to go. Alongside that, we have some great benefits which include:

Hobbs Employee Discount of 70%, and 50% discount with Whistles and Phase Eight, as per the TFG Brands Discount Policy

Up to 28 days holiday entitlement per annum in addition to the usual public and bank holidays

Financial and Wellbeing support

Subsided gym membership

Enhanced Maternity package

Virtual GP service - unlimited access 24/7

Plus much more!

TFG London Inclusion and Diversity statement of commitment:

At TFG London and across all our brands we are committed to creating an inclusive culture that welcomes, develops and celebrates a diversity of backgrounds, experiences, cultural references and ideas and opinions within our business.

We are working together to ensure our environment is one where difference is not only respected but encouraged and celebrated and people can bring their authentic, unique selves to work, where their contribution is valued, ability enhanced, and perspective appreciated.

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We are looking for a PR and Brand Marketing Manager to join our Brand Creative and Communications Team to focus on delivering omnichannel campaigns and brand events. This is an exciting opportunity which will see you champion our Hobbs profile, deliver our seasonal marketing and PR strategy as well as manage the day-to-day planning and operations of the Hobbs press office.

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Club L London - Merchandising Admin Assistant 

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Club L London - Merchandising Admin Assistant 

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Essential Skills:

Organisation & Accuracy

At least 1 years experience in Merchandising

Previous experience working in a fast-paced environment

Strong excel skills [Intermediate to advance level]

Highly organised and strong attention to detail

Ability to build strong supplier relationships and work collaboratively as a team

A good communicator and being able to build relationships with multiple teams across the business

Quick to identify issues and have good initiative to provide appropriate solutions.

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Keen interest in social media and the different platforms

A relevant Fashion Marketing degree

A team player with a keen can do attitude

Strong communication skills

Excellent organisational skills

Additional information

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Charles & Keith - E-Commerce Growth Lead 

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Charles & Keith - E-Commerce Growth Lead 

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Club L London - Merchandising Admin Assistant 

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Club L London - Merchandising Admin Assistant 

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Roles and Responsibilities

PO/Delivery Management:

Full ownership of Intake for your categories: Oversee and manage the critical path, ensuring all styles are in on time and lateness is flagged, to ensure availability is maintained at 100% and all launches are on time

Supplier/ production team communication, ability to chase intake and make commercial decisions

Rebuy management: Ensure replenishment levels on bestsellers are sufficiently high and trade out of slow sellers and work closely with the buying and garment tech team to identify and rebuy refits, and all newness is fit approved on time

Wholesale: Send buysheets, raise orders & build a strong report with WS partners

Raise and amend purchase purchase orders

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Charles & Keith - E-Commerce Growth Lead 

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Charles & Keith - E-Commerce Growth Lead 

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Fashion Insight Podcasts - Vouge Business 

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Fashion Insight Podcasts - Vouge Business 

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Conventional wisdom might say to let your outfit do the talking, but if the growing phenomenon of fashion podcasting is anything to go by, that's only the start of the conversation. Whether investigating overlooked style cultures around the world, the day-to-day grind of working in the industry, or the urgency of addressing systemic problems from sustainability to racial inequality, fashion podcasters have quickly proven themselves to be among the most agenda-setting voices in industry media today.

That podcasts should prove to be such a compelling platform to explore fashion might initially sound counterintuitive. How could the medium of sound capture the tactile pleasure of a coat lining or the satisfying swish of a perfectly cut skirt or gown? The answer is, of course, by not attempting to re-create the experience of clothes at all. Instead, the best style podcasts communicate why clothes matter-whether that's the cultural history that informs them, the machinations of the broader industry that produces them, or the simple (or not-so-simple) appeal of the trends that make you want to buy more of them.

Here, find the best fashion podcasts to listen to now across six categories covering history, trends, careers, sustainability, the industry at large, and finally, a new wave of podcasts being created by the brands themselves.

Fashion History

Arguably the gold standard of fashion podcasting, Cassidy Zachary and April Calahan's series for iHeartRadio has built a loyal audience with its eclectic lineup of deep dives into fashion past and present. From interviews with specialists in traditional Arab dress and Black dandyism to examinations of the history of specific pieces, including sunglasses and jumpsuits, Dressed is the ideal entry point for those looking to expand their fashion knowledge, with Zachary and Calahan's overviews of key moments in the history of style balancing erudition and wit with an easy charm.

First established in 2015 by fashion scholar Jasmine Helm, textile conservator Dana Goodin, and fashion and history scholar Joy Davis, Unravel's M.O. is to unpack and challenge the hegemony of white Western designers within the canon of fashion history. Alongside their one-off interviews with fashion academics and incisive forays into onscreen costuming on everything from The Crown to The L Word, the trio's recurring series on Black, Indigenous, and queer designers have expanded their global and inclusive vision into a podcast that feels both purposeful and poignant.

Admittedly it's a newer addition to the stable of podcasts, and yes, we might be a little biased, but this list wouldn't be complete without Vogue's series exploring the fashion world's seismic shifts throughout the 2000s. Hosted by international editor at large and walking fashion encyclopedia Hamish Bowles, the series touches on everything from the stratospheric rise of Juicy Couture to the influence of Sex and the City to the blogger phenomenon. With its starry lineup of guests-where else would you find Gisele Bundchen herself musing on her extraordinary decade in front of the lens?-it's an unmissable window into a pivotal chapter in fashion history.

Style and Trends

Hosted by Rebecca Arnold, the highly respected fashion history lecturer at London's Courtauld Institute, and Beatrice Behlen, the fashion and decorative arts curator of the Museum of London, Bande à Part might at first glance seem forbiddingly highbrow. Quite the opposite: The charm and obvious rapport between its cohosts make it as accessible as podcasts come; indeed, it feels like you're sitting in on a conversation between friends. Whether they're diving into the annals of fashion history, devoting an episode to the fashion photographers whose worlds they would most like to inhabit, or discussing the new Savage x Fenty show, Arnold and Behlen wear their erudition lightly, but their knowledge and experience always shine through.

If you're looking for a podcast sitting right at the fashion zeitgeist, Corporate Lunch-hosted by GQ editors Noah Johnson, Rachel Tashjian, and Samuel Hine-is the one for you, with hot takes on everything from Christian Girl Autumn to their favorite Timothée Chalamet fits. A major part of Lunch 's appeal is its guests, who seem chosen for their ability to see beyond the myopia of the fashion industry; episodes have featured playwright Jeremy O. Harris, musician Phoebe Bridgers, and pro skater Alex Olson.

Created by Avery Trufelman as a miniseries within the hit public radio show 99% Invisible, Articles of Interest stands out both for the truly impressive level of research that underpins it, and the way in which it translates this information into self-contained narrative arcs that feel as gripping as any true crime series. The subjects for each episode might initially appear broad-knockoffs, Hawaiian shirts, childrenswear-but Trufelman has a knack for teasing out rich and fascinating stories packed with unexpected twists and turns.

Working in Fashion

Hosted by Vogue's market editor Naomi Elizée, So...What Do You Do Again? highlights the lives and journeys of women of color within the fashion industry with humor, warmth, and intimacy. Elizée brings a rare honesty and insight into the wide-ranging backstories of her guests, be they model Precious Lee or celebrity stylist Ade Samuel. While its mandate is to serve as a resource for young people of color looking to break into fashion, the candid conversations-many of which touch on the obstacles faced by women of color on their way to the top-should be required listening for anyone working in the industry at any level.

While some of the bigger fashion houses have launched podcasts featuring their head creatives, it's rare for a designer to take the initiative to start a podcast on their own. But Recho Omondi is not your average designer. Omondi's interviews with figures from the fashion world-Diet Prada, Heron Preston, and Bethann Hardison among them-are notable for her willingness to broach topics that other podcasters might shy away from, specifically the industry's reluctance to talk openly about its complicity in environmental destruction and systemic racism. Her probing, inquisitive nature makes her a brilliant interviewer-even if, with fans of her label including Issa Rae and Solange Knowles, she shouldn't be giving up the day job anytime soon.

A new podcast launched by London-based fashion community platform ClickerMe, The Fashion Slashie-hosted by fashion journalist Lara Johnson-Wheeler-looks at the ever-evolving phenomenon of the "slashie," the freelancer jack-of-all-trades creatives that increasingly dominate the fashion landscape. With the likes of artist, publisher, art director, and stylist Theo White, who has collaborated with Mowalola and styled for the Cut and Dazed, and the creative director and entrepreneur Tayler Prince-Fraser on board as guests, it's a compelling window into a side of the industry that often gets overlooked.

Industry Insights

With new episodes dropping biweekly, The Business of Fashion Podcast is known as one of the most reliable sources for up-to-date fashion news and industry goings-on. Hosted by the publication's founder and CEO, Imran Amed, its standout quality is its willingness to tackle the big issues facing the industry today-from retail to style culture to global politics-with an informed, clear-headed impartiality.

For a more on-the-ground take on the industry today, Fashion: No Filter ticks all the boxes. Its hosts are influencer Camille Charrière and fashion journalist Monica Ainley, and their shared interest in the conversation between the fashion industry and pop culture makes for compelling listening at a time when the two have never been more intertwined. Whether interviewing Bryanboy or Instagram's fashion guru Eva Chen, the pair's fluency in the worlds of social media, street style, and sustainability offers a relatable take on the machinations of the fashion industry that has earned them a loyal following.

Since writing a viral Facebook post about being dropped by her modeling agency for being "too big" in 2015, British model Charli Howard has become one of the U.K.'s most prominent voices advocating for a more inclusive set of body standards. And with her BBC Sounds podcast Fashion Fix, Howard broadened the conversation further, exploring how those working within it can make efforts to address some of the biggest issues it faces, from diversity to sustainability to adaptivity. Earlier this year, model Naomi Shimada took the reins, shifting the focus to include insiders' experiences of the beauty industry as well, and has proven a worthy successor, interviewing the likes of Zandra Rhodes and Sinéad Burke.

Sustainability Matters

There are few issues the fashion industry needs to address as urgently as the climate crisis, a fact that Clare Press, Vogue Australia's first sustainability editor, has been all too aware of over her two decades working in media. Launched in 2017, on the cusp of sustainability entering the mainstream fashion discourse, Press's The Wardrobe Crisis podcast is a valuable resource for those looking to understand the horrifying impact of the apparel industry on the environment. More importantly, perhaps, its focus lies equally on the innovators finding solutions to move fashion forward by way of a circular economy and ethical production. Never judgmental or patronizing, Press's approach to environmental advocacy within fashion is truly admirable-and one we can all learn from.

For vintage obsessives, Bay Garnett will need little introduction. The influential former fashion editor at British Vogue made her start with cult favorite magazine Cheap Date in the 1990s, featuring fashion shoots memorably styled with thrift store finds, while a vintage banana print tee she styled Kate Moss in for her first Vogue shoot in 2003 was borrowed by Phoebe Philo afterwards, only to show up on the Chloé runway the following year and become a high street phenomenon. Garnett's new podcast sees her invite a starry lineup of guests-Rachel Weisz, Sienna Miller, and Chloë Sevigny have all made appearances-to go through some of their most beloved pieces from across the years, with Garnett's warmth and humor making it more than obvious why she's one of the most beloved figures in fashion. Come for the celebrities, stay for the stellar thrifting tips.

Hosted by the Irish DJ and broadcaster Tara Stewart, Dirty Laundry came to be after Stewart watched the documentary The True Cost and began questioning the impact of the clothes from fast fashion brands she was often paid to wear at DJ gigs. Since then, Stewart has made it her mission to educate both herself and her listeners on the real-world impact of the clothes we wear, challenging brands to address the climate crisis effectively, and creating helpful solutions for consumers to shop and dress more responsibly in our day-to-day lives. Given her radio experience, it's no experience that Stewart is a natural host: as inquisitive and curious as she is firm in her convictions.

Brand Chatter

As fashion podcasts have undergone a modest boom over the past few years, it didn't take long for brands to get in on the action too. One of the most compelling is Chanel Connects, one of a host of podcasts the French house has invested in, which brings together some of the world's foremost cultural figures (albeit most from within Chanel's orbit) for conversations about the future of art, film, fashion, music, and more. The starry but eclectic lineup includes the likes of Keira Knightley, Tilda Swinton, Edward Enninful, Pharrell Williams, and Arthur Jafa, with the conversations around just what our museums, galleries, and stages might look like as the world reopens proving to be particularly compelling.

While Gucci's podcast also revolves mostly around conversations between creatives, its approach is more itinerant, focusing on the sprawling array of projects patronized by the house, from its Chime Zine, to its collaborations with Dapper Dan, to its recent "brand hacking" with Balenciaga. (For that, a conversation between Alessandro Michele and Demna Gvasalia proved particularly intriguing.) A recent highlight was a deep dive into the brand's Vault project that invited a coterie of young designers to reimagine pieces from the Gucci archive, with a guest appearance from Vogue 's archive editor Laird Borrelli-Persson. It's a podcast with all the shapeshifting playfulness of Michele's distinctive vision for the house.

Under Maria Grazia Chiuri, Dior's runway shows have become one of fashion's most visible forums for feminist messaging, whether via her Chimamanda Ngozi Adichie-quoting "We Should All Be Feminists" tee or the various female artists Chiuri has invited to craft theatrical sets that feel more like installations, from Judy Chicago to Anna Paparatti. So it's no surprise that Dior's podcast has a particular emphasis on the role of women in the creative sphere, from its first season on feminist art to its most recent, more politically charged season featuring friends of the house including actor Felicity Jones, choreographer Sharon Eyal, and poet and activist Robin Morgan. Billed as an invitation to "step inside the contemporary Dior mind," it certainly lives up to its initial impression as the most cerebral offering from the big fashion houses in the podcasting sphere.

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The 18 Best Fashion Podcasts to Listen to Right Now

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Conventional wisdom might say to let your outfit do the talking, but if the growing phenomenon of fashion podcasting is anything to go by, that's only the start of the conversation.

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Social Media Marketing Trending LinkedIn Learning 

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Social Media Marketing Trending LinkedIn Learning 

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Social Media Marketing Trends Online Class | LinkedIn Learning, formerly Lynda.com

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Explore the top social media marketing trends that matter for business, including the growth of influencer marketing, social shopping, dynamic ads, and embracing TikTok.

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Data Visualisation Course LinkedIn Learning 

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Data Visualisation Course LinkedIn Learning 

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Data Visualization: Storytelling Online Class | LinkedIn Learning, formerly Lynda.com

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Learn the keys to telling a story with data from data visualization expert Bill Shander.

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THG Insight Session- Careers in Marketing - Early Careers 

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THG Insight Session- Careers in Marketing - Early Careers 

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Insight session: Careers in Marketing - Early Careers

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THG is a fast-moving, global technology business that specialises in taking brands direct to consumers. Our world-class proprietary tech and infrastructure powers our extensive portfolio of beauty, nutrition and lifestyle brands and is now helping drive exponential growth of our clients’ brands globally.

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Vouge Business - The Best Fashion Books 

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Vouge Business - The Best Fashion Books 

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Whether you're a fashion novice hungry for knowledge or aiming to deepen your expertise, there's no better source than a stellar book. This year's selection offers a wealth of brilliant options to expand your fashion know-how. From exclusive insights into the worlds of designers like Pharrell Williams, Rick Owens and Thom Browne, to Charlie Porter's exploration of the Bloomsbury Group's early 20-century wardrobes, there's something to captivate every reader.

Scroll on for Vogue 's top picks for the best fashion books of the year.

Pharrell: Carbon, Pressure & Time by Pharrell Williams

Hear Pharrell Williams's insights into the relationship between hip-hop and jewellery, discover more than 100 iconic pieces, and delve into the opulent realm of collectibles, all in one captivating book.
Out 26 September
The Burberry Book by Alexander Fury

Incorporating five chapters and 200 visuals, this book captures Burberry's journey from an 1856 family venture to a global luxury brand in 2022.

Dior by Raf Simons by Tim Blanks

Dior by Raf Simons is the sixth volume in the definitive collection that highlights the house of Dior's most remarkable haute couture creations.

Bring No Clothes: Bloomsbury and the Philosophy of Fashion by Charlie Porter

Charlie Porter's latest book delves into the early 20th century, unlocking the Bloomsbury Group's wardrobes to expose the intricate interplay between attire, liberation and control.
Out 7 September
More Rick Owens by Rick Owens and Danielle Levitt

Rick Owens's new book is a treasure trove of unpublished photographs, capturing his bold experimentation with shapes, materials and colours.
Out 26 September
I Care a Lotta, I Wear Collina Strada by Hillary Taymour and Charlie Engman

Embark on a decade-spanning journey of audacious fashion and eco-consciousness with NYC brand Collina Strada in this visually captivating compendium directed by Charlie Engman and showcasing vibrant designs by founder Hilary Taymour.
Out 3 October
India in Fashion: The Impact of Indian Dress and Textiles on the Fashionable Imagination by Hamish Bowles

Follow the lasting impact of traditional Indian textiles on Western fashion from the 18th century to today.

Fresh Fly Fabulous: 50 Years of Hip Hop Style by Elena Romero and Elizabeth Way

Retrace hip-hop's musical and stylistic transformations over the last five decades through the stories of key figures and brands.

Thom Browne by Thom Browne

Thom Browne's legacy and modernisation of the suit, favoured by celebrities ranging from Cardi B to Michelle Obama, are showcased in a book with more than 200 past looks, shot by Johnny Dufort.
Out 5 October
Carolina Herrera: Colormania - Colour and Fashion by Carolina Herrera and Wes Gordon

A mesmerising celebration of fashion, art and movement, this book, which features cinematic images by Elizaveta Porodina, captures Carolina Herrera's timeless elegance through its vibrant collections and backstories.
Out 5 September
Per Amore by Giorgio Armani

Immerse yourself in the world of Giorgio Armani, the iconic figure in Italian fashion, through this exclusive, revised edition of his autobiography.

Givenchy Catwalk: The Complete Collections by Alexandre Samson and Anders Christian Madsen

Look back at Givenchy's evolution with this monograph, featuring original catwalk photography and insights by everyone from Hubert de Givenchy to Matthew M Williams.
Out 16 November

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12 Gorgeous Fashion Books To Pore Over This Autumn

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From exclusive insights into the worlds of designers like Pharrell Williams, Rick Owens and Thom Browne, to Charlie Porter's exploration of the Bloomsbury Group's early twentieth-century wardrobes, discover the best fashion books to read this year.

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The Best and Most Educational Fashion Documentaries  

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The Best and Most Educational Fashion Documentaries  

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The 29 Best Fashion Documentaries To Watch - The Glossary

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From portraits of fashion designers and powerhouses to behind the scenes footage, these are the most inspiring fashion documentaries to watch

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Grace Beardmore Reflection

-            Gibbs Reflective Cycle

1.       Description

Throughout the Marketing Consultancy Project I was assigned a group of 3 people to carry out a marketing campaign for the Luxury brand Private White. Having a live brief of the brand gave us multiple objectives to create a unique marketing campaign  to ensure the brands success in meeting their target objectives. Mapping out ideas and suggestion within the group came first. We then categorised each section of the campaign using the SOSTAC Model which give us a lot more direction when I came to setting clear objectives and strategies.

2.       Feelings

At first there was a lot of different ideas suggested by all team members and it was difficult to navigate what would be a realistic approach to the task set as it was easy to get carried away within the creative flare that many in the team obtained. At fist it was a massive team effort with all team members getting involved in setting out the campaign plan but after a certain amount of time it became more unlevelled. So with having to deal with a team member not involving as much as possible it was difficult to make end decisions within task and therefore prolonged the process in making final deliberations so it was quite frustrating at times.

3.   Evaluation

Working in  team is a roller coaster experience it can be hard to stay on the same page as co workers however when everyone agrees on a specific elements it feel really rewarding as it is a team effort and everyone put in their opinions and in the end it turns out fir the best.

One thing I would say didn’t go so well was as we didn’t know each other too well  I think we found it difficult to mention if someone hadn’t done some or had done it slightly wrong as we didn’t want to undermine anyone. I think more professionalism could have been beneficial as it was just constructive criticism all in the best interest of the whole team.

4.       Analysis

More communication between all team members could have been helpful if they felt like they were struggling and not comfortable, however with what we created we included multiple different academic model to help further our finings and campaign idea, however if I was to do it again I would have used the RACE framework within our marketing strategy to ensure the reasoning behind in platform being used to communicate with consumers.

5.       Conclusion

Next time I would time a more strategic plan when it come to completing the work and ensure all team members where on board and felt comfortable with what they had to complete, setting a week by week check list of thing to complete that week and thing to consider the week after as I feel it would make a big piece of work less daunting for all the team.

6.       Action Plan

After my conclusion I am going to set myself a gaol to complete check lists daily to get myself used to learning and acting in the manor and when I am next working within a group environment I can suggest this method to the group to ensure a smooth and calm method of working.

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High energy and bubbly personality

Great team player within work and sport environments

Self motivated and organised

Passionate, determined individual who loves to collaborate

Confident working in fast paced environments

Love for the fashion industry

Creative visionary when using Adobe design and Microsoft software

Strong analytical skills

Effective problem solving

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Discover Princess Diana's best fashion and style moments from sleek shift dresses and pearl chokers to taking her young sons to school proving to be perfect Instagram fodder for a new generation of fans of the Princess' style. These are Princess Diana's most memorable style moments.

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Thinking Of Starting Your Own Business? Read This...

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Clare Hornby left a career in advertising to start ME+EM, a luxurious, yet relaxed and affordable, fashion line that has a celebrity following including Rosamund Pike, Thandie Newton and Emilia Fox.

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With Pharrell Williams freshly enthroned at Louis Vuitton, a grand new convergence between fashion and pop culture is underway. GQ followed along for the audacious opening of Pharrell's reign-and learned more about the ambitious revolution he's planning to mount.

To listen to this profile, press play below:
Pharrell Williams has a pimple. There's a bandage on his chin, and immediately after introducing myself, I ask him, "What happened?" And he says in the nonchalant, melodious voice I've heard approximately 1 billion times on speakers and in headphones but did not expect to be so perfectly his in person: "Oh, just a pimple."

He just turned 50 and his skin has the texture and tone of a nourished and well-hydrated 22-year-old. Upon clocking the bandage, I thought maybe one of his four children had caught him with a headbutt. Maybe he fell skateboarding. I did not in a thousand years expect him to tell me that under the bandage he had hidden a pimple. And immediately I feel like a jerk for calling attention to it.

But Pharrell does not seem perturbed by my comment, or by the blemish or the bandage. He is full of humility. He is open and honest and ready to share himself-and his imperfections-with the world.

We were in a vast parking lot in Pharrell's hometown of Virginia Beach, amid a carnival of trailers and trucks that served as the backstage area for the now-annual three-day music festival called Something in the Water that he hosts right on the sand. It was late April, a momentous time for Pharrell. He was just two months into his new job as the men's creative director of Louis Vuitton, and enormous questions were swirling about what the superstar producer would do with the keys to a global luxury superbrand.

His appointment had put to rest a year of gossip and speculation about who might fill the role left vacant after Virgil Abloh's death in 2021. Some expected that the position would be used to elevate one of the young, overachieving fashion-school graduates who had found success at his or her own brand. Others guessed that the job would go to a well-known designer. Nobody seemed to be floating Pharrell's name. When the news broke, on Valentine's Day, it was seismic. One of the world's most famous people was being invited by one of the world's biggest brands to reshape the business of luxury fashion.

Never before has such a famous artist or a musician-or a celebrity of any stripe-been appointed to a position of such distinction in the luxury business. And yet, the moment shouldn't have been a total surprise. We've been living in fashion's celebrity era for a decade now. Brands are working to establish something bigger and more loyal than a customer base: They want a fan base. A whole world of people who follow what they do the way people follow Hollywood or sports, regardless of whether they can afford a bag.

Meanwhile, stars have bumped buyers and the press out of front-row seats at fashion shows, and replaced supermodels in campaigns. Collaborations between luxury brands and pop stars are ubiquitous. As priorities go, traction on social media is just as important as the cut and quality of the clothes.

In light of these developments, Pharrell's appointment seemed like the logical next step in the quickening union between fashion and celebrity culture. This was the point made at the time by cynics who suggested that the job amounted to a kind of vanity role for Pharrell and a marketing ploy for the brand. But the true scope of Louis Vuitton's bet on Pharrell is grander than we could have realized back when it was first announced.

I wanted to know, on that afternoon in Virginia, how Pharrell was faring under the expectations of the new job. He was toiling on what would become his first collection-which he'd later unveil in dramatic fashion in Paris in June-and over those intervening months, I went on a kind of journey with Pharrell. From his hometown in Virginia Beach, to his new home in Paris, and across several intimate conversations in his studio and showroom, I was permitted to see what he was cooking up. More than that, though, I began to understand how it is that Pharrell is driving a paradigm shift, not just in the business of designing and selling luxury goods but in the whole wild, symbiotic swirl of pop culture and fashion.

And so the pimple on Pharrell's chin-particularly, his instant openness and honesty about it-felt like an encouraging omen.

After we put the bandage incident behind us, Pharrell and I sat down on a couple of stools under the shade of a canopy that had been set up between two trailers. Pharrell and his family have been spending most of their time in Paris since his appointment, but they'd all come to the festival together-his wife, Helen, their 14-year-old son, Rocket, and the triplets he and Helen had in 2017. As we chatted, they all hung out nearby in the artist compound-a few hours later, Pharrell would take the stage with Pharrell's Phriends and put on a two-hour headlining performance featuring a melange of other artists including Diddy, M.I.A., De La Soul, Busta Rhymes, and A$AP Rocky.

Pharrell is a prodigious multitasker-endlessly juggling a music career with a skin care line and a restaurant and a hotel and collaborations with Adidas and one of LVMH's newest high-value acquisitions, Tiffany & Co.-but given the enormousness of the new job in Paris, I was amazed he was at the festival, in mind and body, hosting and performing. But he assured me that he's still working on the LV collection remotely. "We're in constant contact," he says of himself and his team back in the Paris studio. "It's crazy what we have coming. I pushed it in every aspect, every category. I pushed it."

What became apparent to me over the course of a few days in Virginia Beach during Something in the Water was that Pharrell wasn't just toiling on LV projects remotely. His work for the brand was all around us. My initial presumption-that he'd taken time off from his new job to tie up the loose ends of his old job-reflected a misunderstanding in what was really going on here.

While the fashion world was awaiting Pharrell's first show in June to see his vision for the brand, the people of Virginia Beach were already experiencing it in April. Just by being there, they were getting a taste for what Pharrell had in mind for his debut: The collection he would present in Paris is titled LVERS, as in "Virginia is for...." He was here not just to satisfy the thousands of fans who came out for his music; he was here to introduce them-or reintroduce them, as the case may be-to Louis Vuitton, to Pharrell's Louis Vuitton. And for him, the mission was clear: "From Paris to VA, VA to Paris," he says, "that's literally the narrative. All of this is seeding that." For him and for his fans, the music and the clothes are part of one body of work. "It's a part of my story," he says.

Not far from where we chatted, brisk business was being done inside a VIP tent over by the stage, where a Louis Vuitton pop-up shop had been erected. It wasn't selling festival merch, it was selling what were essentially early pieces of Pharrell's first LV collection-T-shirts, hoodies, and denim jackets with "Virginia is for LVovers" and "I LV VA" graphics. A constant frenzy of fans moved through the small temporary shop, snatching up $860 T-shirts and $1,310 hoodies.

Down the beach, Pharrell had a 30-foot-tall sandcastle built, designed to look like one of the Pyramids of Giza had been made from Louis Vuitton steamer trunks, like the ones the brand sells for around $46,000. What could be seen as a monument to corporate marketing was met by selfie takers with giddy delirium and enormous gratitude. There is no Louis Vuitton store in Virginia Beach. It isn't a fashion capital. But that doesn't mean, Pharrell seemed to acknowledge, that the people here don't want to participate in the luxury-fashion spectacle. I took Pharrell's pyramid as a symbol that he intends to widen the aperture of LV. He is in a position to democratize the notion of who ought to be participating in luxury fashion and where and how. There may not be a huge luxury-fashion market in Virginia Beach, but there are fans. And Pharrell is going to include them. He emphasized that when we spoke weeks later in Paris: "You could feel how much those people appreciated having something there, right?"

Pharrell grew up a mile from the boardwalk. As a teenager he met and eventually began making music with the rapper Pusha T, another Virginia Beach local. "When I look at Pharrell and I look at what he does and what he's done throughout his career, it has all been centered around hometown pride," Pusha tells me. "We were dreamers. We were explorers. And it just shows that regardless of where you're from, if you keep dreaming and keep being passionate about your craft, it'll pay off."

Pharrell knows his journey is instructive, that with this new role he embodies a powerful message about the liberating, transporting power of art and creative expression. The pyramid doesn't mean go buy a Louis Vuitton trunk. It means, Pharrell tells me, "Dream big."

Pharrell tells me that when the LV job was first broached, it seemed to come out of the blue. He was at his studio in Miami Beach, last December, when he heard from Louis Vuitton CEO Pietro Beccari. "It wasn't an interview or anything," Pharrell remembers. "It was like, 'Will you accept this position? Will you accept this appointment?' I'm looking at the water and I'm just like, 'What?' "

Pharrell had been in talks with folks at LVMH about who might succeed Virgil Abloh-offering names and sharing opinions with, among others, Alexandre Arnault, a son and key lieutenant of founder Bernard Arnault-but Pharrell says he did not realize that he himself was being considered. He expected the choice to be Nigo, his longtime friend and collaborator who currently heads a different LVMH brand, Kenzo. "He's my hero, he's my brother, and he's the general," Pharrell tells me. "I've been championing him for a minute. And whenever me and Alexandre talk about LV, we would always just talk about different people. I've always been in the background, just advising. I never thought that it would be me."

Pharrell had already worked directly with the house in a design capacity on three prior occasions. But the thought of running all of menswear was on a whole different scale. Beccari recalls that Pharrell figured the CEO was joking when he sent the first text about the job. "Ultimately, it was the perfect opportunity to work together again," Beccari, who previously worked with Pharrell when running marketing and communications for Louis Vuitton, tells me in an email. "There was a natural and shared understanding of him coming back home."

Pharrell's first foray with the brand came nearly 20 years ago, after a chance meeting with Marc Jacobs at the opening of the Louis Vuitton store on 57th Street in Manhattan. Jacobs, who was the creative director at the time, complimented Pharrell on the sunglasses he was wearing, which had been designed by Nigo. The conversation led to an invitation for Pharrell and Nigo to work on a collection of LV sunglasses, which was released in 2004. Of the dozen or so styles they created, one, the Millionaires, was reinterpreted by Abloh during his time at LV, and reappears in Pharrell's new collection. Jacobs and Pharrell continued to work together on a campaign for the house, in 2006, and a collection of fine jewelry that Pharrell co-designed in 2008.

"He was changing the paradigm," Pharrell says about his experience working with Jacobs and LV. "At that time, musicians were only used here and there in campaigns, especially Black ones. And maybe we could use the clothes editorially, but there was no allowing people who looked like us to come in behind the curtain and go design and make things. Marc was first. He was the pioneer of that, and now you see that all over the place."

"I was drawn to Pharrell by his music, then his style and his overall energy when we first met," Jacobs tells me by email. "I truly believed the way forward at Vuitton was collaborating with other creatives, and that's what Pharrell was, and still is, to me: authentically creative."

Since those gigs, Pharrell's creativity and curiosity have led him to all kinds of interesting fashion-world opportunities, including long-term collaborations with Adidas, Chanel, and Tiffany & Co. Sarah Andelman, founder of the influential French fashion boutique Colette, has collaborated with Pharrell numerous times, going back to his first Adidas collection, which he launched at her shop in 2014, and more recently as a curator for Pharrell's Joopiter auction house. "He's the same as the first time we met," she tells me. "Very collaborative, very open-minded, very loyal." She was, she tells me, "so, so, so happy" when she heard the news of his appointment at LV. "He knows he wants to make a community, to use it as a platform to bring artists or other creatives to the house."

But Pharrell's dalliances in fashion were, until now, part-time jobs. LV is the first brand to go all in on somebody like Pharrell. "It's the first time someone has had the daringness to pick a real worldwide star to helm a house," says Beccari of his decision to hire Pharrell.

It wasn't that long ago that it seemed things were headed this way for a different, globally famous Black American artist and superproducer. It was no secret that Kanye West, now known as Ye, had his sights set on the heights of luxury fashion. And for a while there, it seemed like the big luxury fashion houses were interested in him too. It didn't come to fruition. Instead, it was Ye's protégé and right hand, Abloh, who brought a new level of cultural and celebrity connectivity, cachet, and presence to fashion at Louis Vuitton, and he had proved to be an amenable collaborator. He's been celebrated widely since his death for opening the doors to the industry for other creatives of his ilk-most of whom do not have formal fashion training-and it seems he did in fact open the biggest door of them all for Pharrell to step through. The long-held dream-one that may have once been Ye's-of a monumental convergence between the cultural prowess of modern music stars and the commercial might of the luxury industry appears poised for fulfillment.

"He has 13 Grammys and even Oscar nominations," says Beccari. "One could say he has a Midas touch. So, as a creative director, while it's an experiment, I think it will be a successful one."

In June, I reconnected with Pharrell in Paris, at the LV headquarters just across the street from the Pont Neuf in the 1st arrondissement. In the weeks since I had last seen him, Pharrell and his team had been working to finish their first collection. When I arrived at the studio space, photos of most of the final looks were arranged on a whiteboard.

Pharrell was wearing what has become his signature look for this new era of his career-boot-cut LV jeans over LV snowboard-boot sneakers, a white tee from Nigo's brand Human Made, and a Human Made baseball cap, with lots of gold-and-diamond chains on his neck and wrists, and an all-gold grill. The amount of gold and precious stones Pharrell wears seems to increase every time I see him. The jewelry is multiplying like gremlins. This feels notable.

"I look at myself like I'm the real customer. So I design for what it is that I want and what I'm going to need."

For the past decade or so, Pharrell has been in something of a monastic sartorial era. He spent years as one of the most flamboyantly attired celebrities in the culture, then veered into a kind of ascetic simplicity that, he has said, represented the humility he wanted to project-his way of dealing with the tremendous success he found after back-to-back-to-back megahit songs in 2013 with "Blurred Lines," "Get Lucky," and "Happy." At the end of 2022, he auctioned off part of his collection of Jacob & Co diamond pendants, the last relics of his legendary run as one of the greatest stunters-he was certainly the most innovative-in hip-hop in the early aughts. "His humble approach is him growing up," Pusha T says. "Knowing the real importance of people, and how you treat people, and what you give off." Even as Pusha T explains his friend's personal-style metamorphosis, he bemoans it. "I would like to say, personally, that is not my stance. I want my homeboy to be as loud and obnoxious as I would ever want him to be."

Pharrell and I sat on a squishy but expensive-feeling C-shaped bouclé couch in one corner of his studio. In the middle of the room there are several small conference tables; at each one a few members of Pharrell's and LV's creative teams are huddled, finalizing various aspects of the upcoming show.

For all the coming excitement of what he would soon reveal-big-time verging-on-revolutionary stuff that we were just days away from seeing at his show-Pharrell's strategy for building the brand, he tells me, is surprisingly practical. He thinks about what he would like to buy or wear. He imagines himself shopping. "I look at myself like I'm the real customer," he says between sips from a porcelain LV tumbler with a leather cozy and gold straw. "So I design for what it is that I want and what I'm going to need."

With this approach, Pharrell packaged a presentation for Beccari and other top brass at LVMH when he first accepted the job. There was no real brief from the company, Pharrell says, although Beccari tells me that he encouraged Pharrell to consider the particularities of this moment-"the period post-COVID where people dress up a bit more, so to maybe instill the idea that Vuitton has also the mastery of tailoring." Beccari says he was interested in Pharrell's ideas for "a dandy man of sorts who is elegant, with a silhouette that is less oversized and fitted closer to the body."

The crux of that presentation had nothing to do with Pharrell's celebrity or the famous friends he'd bring along with him. It contained his notion of a complete men's wardrobe, which he broke down into five categories: elegant tailoring, clothes designed for comfort, resortwear for vacations and staycations, sports clothes for both enthusiasts and practitioners, and a core collection of perennial basics. Then there would be the bags, the shoes, the sunglasses, the trunks, the toys, and all of the accoutrements of a modern luxury brand.

But Pharrell's understanding of what it is that he and LV can offer is a little more conceptual than the standard hard and soft goods that brands make. "It's not really about the items-even though we have a lot of items and we make new ones as well," he says. "It's about the idea. Trusting the brand that says that they understand what luxury is and how they can better suit your life."

"It was spot-on and had a very clear direction," says Beccari of the presentation. "Pharrell feels the responsibility of carrying a commercial weight"-something he undoubtedly understands not just based on his music track record, but doing things like starring on the TV show The Voice and launching a hotel in Miami Beach with the hospitality entrepreneur David Grutman. "We are here to deliver results," says Beccari. "Together, it's a hub of creativity and innovation-there are no limits to what we can do."

The "no limits" thing is very real when it comes to Louis Vuitton. "When you get this appointment, what you get is an amazing team of 55 departments, 2,500 squadron," Pharrell tells me. "Resources to do whatever it is that you envisage. You never really hear 'No.' "

So far, Pharrell has done very little to decorate his studio space. When I visited, the furnishings were still being made and the place had a vaguely anonymous feel that he'll no doubt correct. Except there's one area that's received his attention. He's built a recording studio into the office. "I go back and forth between music and clothes," he tells me. "Songs and shoes, accessories and harmonies. And it's one fluid thing."

And he's productive as heck. When I was there in June, he told me he had finished three albums' worth of music since arriving in Paris, all produced right there at LV.

Pusha T is one of the artists who's joined Pharrell in his LV studio-an experience that's given him new appreciation for his friend's talents at getting things done. "He's the true definition of a multitasker," Pusha says. "The way that he can divert his focus and pivot at the drop of a dime is awesome. We're in there working on music, a meeting comes up, it's about color palettes or anything, he leaves the studio, walks right into the war room and gives it his all. Just the way that he can give direction, opinion, very well thought out at the drop of a dime."

The area that Pharrell now uses to record music is the same spot where Virgil Abloh installed a DJ booth. It is a tragic reality that this huge opportunity for Pharrell has only been possible because of the untimely death of Abloh. "I always knew Virgil was special," Pharrell tells me, adding that he's maintained the connection to Abloh through Louis Vuitton, and some Abloh-designed pieces remain in the line. "It's like we're collaborating in spirit," Pharrell says. And he has plans to continue to develop the house's relationship to skateboarding, something that was initiated by Abloh.

Virgil Abloh once said that Pharrell had created a "new prototype" for Black artists. Of course, when Abloh arrived at LV, it was he who introduced a new culture to the house, and introduced luxury fashion to a new kind of creative direction-things that will now benefit Pharrell. Already, there is a strong feeling of continuity between the two of them. "After the untimely departure of Virgil Abloh, I don't think I could have chosen a traditionally trained designer," Beccari tells me. "I needed someone who was, again, connected to the arts, who could touch the hearts of people through music and fashion but also collaborations."

Pharrell dedicated his first show to Abloh. He is not one to ever let you forget the significance of other artists and designers to his work and the culture around him. "I'll always pay homage to him," Pharrell says of Abloh.

The most obvious link between Pharrell and Abloh is the way both men seemed to have infinite reservoirs of energy and creativity for projects that spanned fashion and music and all kinds of other sectors. Abloh collaborated with Ikea and Mercedes-Benz and Nike, and he DJ'd clubs and festivals around the world. He was always on a jet, it seemed. Pharrell, similarly, will continue to juggle various design projects, businesses, charities, and, of course, music.

Lots of great artists are polymathic, but very few are able to be successful in more than one medium. I wonder if there is something about the unique relationship between music and fashion that puts Pharrell in a position to be one of the few-a favorite pair of jeans is like a favorite song, or the way a commercial hit has broad appeal and originality but triggers a familiar or nostalgic feeling in people. Albums do that. So do brands. A well-made bag, like a well-made song, lasts for decades and is as good as the day it came out. But even more powerful is the way both are forms of personal expression among their fans. Personalities are built around music and clothes. And Pharrell, since the very beginning, has had a supernatural understanding of that, and has consistently made things that unlock new dimensions of personality-he did it through music with the rap-rock group N.E.R.D., and he did it through fashion with Nigo and the radical global takeover of candy-colored streetwear. Along the way he introduced some major innovations to the hip-hop-fashion-history books: the yellow N.E.R.D. trucker hat, the gold-plated BlackBerry, the Jacob & Co pendants, the custom purple croc-skin Birkin bag.

Of course, in his new position, as he combines disciplines and invents new ways to reach bigger audiences, Pharrell appears poised to redefine the job of the creative director. I suggest to him that he could be shaping not merely where fashion is headed, but also where culture goes.

"I never looked at it that way," he says. "I don't zoom out as much, because if I zoom out, it might freak me out. I might see too much of what it really is like."

So what did Pharrell do when he was given a job with no limits?

He started with his core creative crew-the stylist Matthew Henson, and Cynthia Lu, the designer behind the artisanal streetwear brand Cactus Plant Flea Market-and they set to work with the LV atelier on the collection. He tapped the American painter Henry Taylor for the only true collaboration in the line, and rendered Taylor's loose, figurative paintings as embroideries and brooches embellishing suits. He identified the Speedy bag as the hero of the collection and campaign-specifically the Speedy 25, a mini duffel originally designed for Audrey Hepburn in 1965-and reimagined it as a Canal Street counterfeiter might, in primary colors but on leather so soft it seems to melt when you hold it in your arm. Then he developed his now-signature Damoflage print, a riff on LV's iconic Damier-the checkerboard print we've all seen on Louis bags in brown and charcoal a million times-that Pharrell had manipulated to appear as pixelated graphics or blown-up versions of digital camouflage.

The collection is eclectic and elegant in the precise ways that Pharrell himself is. It plays with tropes-service-worker uniforms and American sports gear and boyish tailoring. And it's full of unexpected concepts and silhouettes, as original and convincing as anything happening in fashion today, like chinos and rugby shirts made of leather, and sunglasses with one pearl-studded arm that goes straight over the top of the head like a mohawk.

The collection is massive, one of the largest menswear collections that Louis Vuitton has ever produced and shown. And it's rangy, less like a cohesive statement about men's fashion and more like a wild ride through all of the possibilities a maison with infinite resources can offer.

Days after we met at his studio, I took a boat ride with a couple thousand of my fashion-industry colleagues to the Pont Neuf, the oldest standing bridge across the Seine in Paris, to see Pharrell's first fashion show. The location was the first indication that we were headed toward a historically significant event.

"They don't let people do things on the bridge," Pharrell had told me. Clearly, he had history in mind as well. "That's crazy, bro. I'm this American, Black boy. What?"

It's easy to suspect that Pharrell's boss might have been helpful in securing the location. Almost 40 years after Bernard Arnault began assembling the pieces of LVMH, the luxury behemoth has reportedly made him Europe's richest man. Of course, the looming corporate question that Pharrell's arrival perhaps helps to answer is: What's next? "LVMH wants to be in the business of culture," the fashion journalist Lauren Sherman tells me. "Pharrell is a maker of culture."

The expansive ambitions are already on display in Paris. From where I stood on the Pont Neuf for Pharrell's show, I could see the LVMH headquarters and, across the street, the "LV Dream," a Disney-style exhibition of the fashion house's history, from 19th-century steamer trunks to Abloh's greatest hits. Upstairs in the gift shop, visitors can pick up a new LV handbag or an LV chocolate bar. And the best place to stay to do it all is next door at LVMH's Cheval Blanc hotel.

"They want to be anywhere that people are enjoying their life," Sherman says of LVMH. "Any part of leisure."

One important part of leisure is entertainment, which just happens to be something that Pharrell understands and can generate as well as anyone on earth. One attendee told me on the Pont Neuf that he felt like we were at Pharrell's bar mitzvah. It was an initiation of sorts, but it felt more like an initiation for the fashion establishment than for Pharrell himself. In attendance was the holy trinity of famous women: Kim Kardashian, Rihanna, and Beyoncé. LeBron James was there wearing a pair of Millionaires shades. Rap dads Jay-Z and A$AP Rocky showed up. Plus a bunch of fashion faithful like Jared Leto, Zendaya, and Jaden Smith.

"There was no grass in sight," Pharrell tells me with a smile after the show, referring to the historic assemblage of so many GOATs in one place.

Even before Rihanna arrived at the show incognito, her presence loomed. A week before, she'd appeared on a towering billboard on the river side of the Musée d'Orsay in a Louis Vuitton ad. Pharrell's first face. A coup, even for him. "I walked in with that," he tells me confidently. She was the face he wanted for his first campaign, so hers was the face he got.

The runway show had all the trappings of an epic spectacle. There was a live orchestra, then the Voices of Fire gospel choir led by his uncle Ezekiel, and a cascade of models wearing clothes that felt like they met the moment: vibrant, cool, opulent. It was not a tribute to Virginia so much as it was a tribute to love and joy and a kind of ecstatic, open-hearted optimism. LVERS, the show notes read, "is a state of mind: warmth, wellbeing, and welcome-ness." This is Pharrell's offering from Virginia to the world: abundant generosity of spirit, respect for humankind and ingenuity, love.

Not surprisingly, Pharrell ensured that music was an integral component of the night. The runway show featured a new Pharrell-produced song by Clipse, the beloved rap duo of brothers Pusha T and No Malice, who walked together in the show. For some rap fans, new Clipse music was as major a news-making moment as the new Speedy bags or his Damoflage innovation. Other designers have used the runway as a moment to debut new music-Ye debuted a whole album as part of a Yeezy-collection presentation. But the Yeezy audience was always made up of Ye fans. Pharrell is taking luxury clothes to a new audience, and taking the music from his hometown in Virginia to new listeners.

The grand finale was Jay-Z on a stage at the front of the runway performing a very generous melange of his hits, a few with Pharrell joining him. "This young man tonight did something extraordinary," Jay yelled into the mic. "Pay homage to the great Skateboard P. Yes, sir. Congratulations, man. I'm so proud of you."

"The house has aspirations to grow exponentially, but that growth is not just numbers. Growth in taste, growth in setting the bar, growth in exceeding standards."

Nigo put it best when I asked for his take on the Pont Neuf spectacular: "The first show was a completely different dimension," he says. Nigo has been on his own righteous fashion crusade lately as the artistic director of Kenzo, a post to which he was appointed in 2021. The Japanese designer, who founded A Bathing Ape and almost single-handedly launched streetwear into the stratosphere, has been a close collaborator and friend to Pharrell since the two launched Billionaire Boys Club together in 2003. "Up to now, one of my roles has been the realization of Pharrell's ideas," Nigo says. "And I've always found his ideas very entertaining. His ideas are, in a word, cosmic."

"Pharrell will never run out of ideas," Nigo says. "I'm sure he will continue showing us new things. The fusion of music and fashion gives birth to a new culture for LV."

Pharrell emerged at the end of the runway show wearing a Damoflage suit and diamond Tiffany & Co. sunglasses. He followed the many models who came out for their final turn on the catwalk, and in the middle of the bridge, Pharrell dropped to his knees and put up a prayer of gratitude. Then he embraced his wife and children, who sat in the front row with the Arnaults and the Carter-Knowleses. Finally, behind him came the rest of the men's design team at Louis Vuitton who'd actually constructed the collection.

Two days later, back in his studio, Pharrell seemed giddy. I swear the jewelry had multiplied again. Even his yellow Speedy bag sprouted a new, diamond-encrusted gold strap. His show had, by then, already become one of the most-watched fashion shows in the history of YouTube and had reportedly been seen by more than 1 billion people worldwide. The mood was celebratory but still focused. No one appeared to be going on vacation just yet. Pharrell had spent the morning in the studio recording a new song. When I arrived, he had his laptop open and he showed me his screen. I asked him about that final moment on the runway, when he came out for his bow.

"From a vibration point of view, my heart was filled and my mind was light," he says. "My energy just felt like I was floating just being out there saying thank you to everyone that came out." Then he summed up the experience more directly: "This is the biggest thing that I've ever done and worked on in my life."

Almost all of the press that followed was positive-with the exception of complaints about the traffic snarl in Paris caused by the bridge closure. "I personally think it is a fantastic debut, with a clear direction and a client's point of view behind it," Beccari tells me. "It clearly surpassed our expectations. And the outcome was amazing and never seen before. But above all, the collection is strong and received an outstanding welcome across the board."

If Pharrell's debut did anything, it primed us to expect more-to imagine that, in the future, we will look back at luxury fashion and see a clear delineation between the pre-Pharrell and the post-Pharrell eras. It felt like the beginning of something profound.

"I was brought here to shake the tree. That's how you get the sweetest apples."

When I ask Pharrell about the future, and about the trajectory of the brand, and the vast aspirations LVMH has to bring culture and luxury together-to cultivate a whole world of fans, only some of whom will become clients-he tells me that his own ambitions were broader than people might realize. "The house has aspirations to grow exponentially, but that growth is not just numbers," he says. "Growth in taste, growth in setting the bar, growth in exceeding standards. The money follows that. We're not going to just do things just to make money, or else we'll just keep making the same belt buckles and shit. That's not what I was brought here to do. I was brought here to shake the tree. That's how you get the sweetest apples."

Pusha T told me that, in this new era, a little of Pharrell's flamboyant obnoxiousness might make a return. "It's not even obnoxious," he said. "It's just the freedom of creativity."

Sitting there with Pharrell, his golden grill catching the afternoon sun coming through the window, I ask what I should make of his new look-are we witnessing a return to stunting?

"The giant is waking up," he says. Then I watch him make the decision to clarify himself: "I'm this little ant, but I have the spirit of a giant. And I think the giant is waking up."

Noah Johnson is GQ' s global style director.
A version of this story originally appeared in the September 2023 issue with the title "Fashion Enters Its Pharrell Era" PRODUCTION CREDITS:
Photographs by Fanny Latour-Lambert
Styled by Mobolaji Dawodu
Grooming by Johnny Castellanos
Sets by Jean-Hugues de Châtillon
Produced by Louis2 Paris
Location: L'Observatoire de Paris

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Inside Pharrell's World at Louis Vuitton-and the New Era of Fashion He's Leading

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With Pharrell Williams freshly enthroned at Louis Vuitton, a grand new convergence between fashion and pop culture is underway.