Spectacles though they may be, fashion shows can start to feel all the same once you’ve witnessed enough of them. The decked-out event space. The throng of people milling about. The crush of photographers descending on a front row seat when a bold-face name appears. Then comes the thumping music, the blazing lights, the parade of clothes, and it’s off to the next. True, the clothes change. True, it is glamourous as all get-out. But it’s also a little familiar.
That feeling is no doubt a driving force behind the trend of major fashion houses throwing ever-more-opulent shows in ever-more-far-flung locations over the last few years. At some point, one-upmanship became par for the course. Go bigger. Go bolder. Go further.
Done wrong, this can feel like a cynical attention-grab. Done right, though, it can elevate the entire enterprise. Such was the case in Hong Kong this past Thursday night, when Louis Vuitton staged its first pre-fall men’s show under the creative direction of Pharrell Williams. The idea behind the collection was “the connective power of travel through nautical themes,” according to the show notes. Specifically, this played out in the imagined journey from Hawaii to Hong Kong. Surf influences—aloha prints, breezy Bermuda shorts, even an LV-branded ukulele—met with metropolitan elements like matched denim sets and sharp (sometimes colorblocked) leather jackets.
“As in the previous show, when we took you from [Virginia] to Paris, it’s a conduit,” Pharrell said ahead of the show. “It’s making a connection between people. Finding connections between cultures, where it may be apparent or not.”
It could have felt a little schticky were it not for the nautical throughline. Sailor hats—we’ll see if those take off IRL, though it’s rarely a good idea to underestimate Pharrell’s influence—perched atop many a head. The double-breasted suits that dominated the tailoring felt ready for the city but owed a clear debt to naval uniforms. Ditto that for the wide-legged and flared trousers that signaled that slim and straight are still on the downswing for many a fashion enthusiast.
The most on-the-nose references to the beginning and end points of the journey remained largely separate until the end of the 63-look show, when pieces like an ornate floral varsity jacket and a couple of all-over-print suits made an appearance. They may not be the cornerstones of a minimalist capsule wardrobe, but they’re no doubt destined for a few celebrities’ upcoming appearances. And with picturesque Victoria Harbour and the Hong Kong skyline in the background—not to mention the city’s mild, humid night air blowing down the runway—even the brighter, brasher looks seemingly tailor-made for a Hollywood red carpet felt right at home.
It’s nearly six thousand miles from Hawaii to Hong Kong. Many of the show’s attendees came that far or further for the event. But many others, not particularly distinguishable in either style or vibe, were locals. All were there with the shared goal of seeing what exactly Pharrell had cooked up. Turns out, it was a reminder that it’s not just the fashion show that has become an increasingly global affair designed for an increasingly connected worldwide audience. It’s the fashion, too.
“At the end of the day it’s about humanity. Always,” Pharrell said. “That’s who makes the clothes, who wears them, and who inspires them. “
Jonathan Evans is the style director of Esquire, covering all things fashion, grooming, accessories, and, of course, sneakers. He lives in Brooklyn with his wife and son. You can follow him at @MrJonathanEvans on Twitter and Instagram.