Abloh says filming began just hours after wrapping up her Louis Vuitton show. The organic run-and-gun quality is evident, with shaky footage that looks like it was shot on a home camcorder. Yellow text even appears at the start of the video saying, “This is barely a ‘video shoot’.” Trippy shots of buildings in the streets of Paris are dotted with photos of pop dancing on tables with a glass of wine. in an off-white Letterman jacket and matching pants, or rapping next to Quavo in the kitchen of a restaurant around the corner from Abloh’s hotel. Other scenes show Pop and Quavo in the streets dodging a donut-making red Ferrari. Another memorable shot depicts Victor, who flew to Paris especially for filming, speeding down the street in a Ferrari 488 Pista, a literal nod to Pop’s lyrics in the song, “Steven Victor in the Pista.”
“We shot it four hours after Louis’ show. We hadn’t decided on the song for the video until, maybe, two days before, and I’m also doing the fittings and the other crap,” Abloh says. “Pop Smoke was important. People would think that after I finished a show, I would have gone out to dinner with the crew, chilled out on a balcony, or chilled out. We were in the middle of the street, worried if the cops were coming because we were about to do like three donuts in a row in Arthur Kar’s Pista. »
Pop busy abroad. In addition to Abloh, he’s also made connections with other designers, like fellow New York native Ev Bravado of Who Decides War. Bravado had Pop perform at its afterparty in Paris that week and even produced some limited edition merch to help celebrate the recent release of Shoot for the Stars Aim for the Moon which was released earlier this week.
“We believed in Pop and its story and wanted to make sure its impact was as big as possible when it first came out. [to Paris]“Explains Bravado. “He was a genuine guy. He just wanted to learn as much as possible from anyone willing to impart knowledge to him. That was the difference – he listened. »
He played his hit records like ‘Gatti’ and ‘Welcome to the Party’ during nightclub appearances. He hooked up with DJ Mustard during a late-night studio session, which led to the creation of “West Coast Shit,” SFTSAFTM’s 11th track (he even nods to Abloh in his verse rap, ‘Shoutout to Virgil got me drippin’). Abloh recalls how open Pop was to all new Parisian experiences. After filming “Shake the Room,” he, Pop, and Quavo went to a Prada party that was happening the same night in hopes of getting some B-roll footage for the video. Abloh thought he wouldn’t like the techno music the DJ was playing, but says they ended up staying there for a few hours, which he said “said a lot about his curiosity.” Rhuigi Villaseñor de Rhude, whom he co-signed on Angie Martinez’s radio show a few weeks later, was another person Pop bonded with on his trip. He attended the ‘Spirit of Ecstasy’ brand presentation and particularly enjoyed an all-blue look with a cropped leather jacket, button down and pleated pants with large side pockets from the collection. Villaseñor was yet another designer who saw potential in Pop.
“It felt like a LeBron moment. You knew [Pop Smoke] was going to be that guy. And when I met the kid, he was the nicest guy and he was really just a huge fan of what we did,” says Villaseñor. “I feel like he was a messiah in his own right. I felt like we were the two people who would grow up together. »
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Remembering Pop Smoke’s First Paris Fashion Week
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