There’s news on Rihanna! While tabloid headlines were making hay out of the star’s most recent street-style look, which featured her natural hair (we’re not sure why this is still shocking in 2024), anyone with even the slightest sense of style would have focused right away on Rih’s handbag. The graffitied version of Louis Vuitton’s iconic ladylike Alma bag, a Tippex-white beacon of style history, is a product of the early Noughties collaboration that upended the conventional wisdom surrounding sacred house logos. Vogue Fashion & Trends
In 2001, artist friend Stephen Sprouse was invited by then-LV creative director Marc Jacobs to literally scrawl all over Vuitton’s storied archive. As brands compete to out-capsule each other with expensive unions that hold increasingly impressive cultural caché, the collaboration market was positively thrilling. The use of shock tactics proved effective, ushering in a new era in which opulent giants began to unwind and, dare we say, enjoy themselves.
It was a significant call from Jacobs, who, according to critic Sarah Mower, first noticed Sprouse’s distinctive graffiti prints at the Ritz Club during his debut performance in 1984. Jacobs remembers it as “amazing decadence—dark, punky, edgy.” “Vogue and New York Times fashion editors were seated next to downtown club kids as the audience.” That had never occurred in New York before. Even though Sprouse won the CFDA’s Best New Designer award that year, his business plan failed, and by the time Jacobs took over at LV in 1997, the man who had directed all of Blondie’s early work had largely disappeared from view.
Whoa! Look at that! everyone was sporting a Louis Vuitton X Stephen Sprouse bag, from Paris Hilton to Agyness Deyn, Kelis to Kim Kardashian. The collection was vibrant, new, and witty; it was two creative disruptors giving a knowing two fingers up to the prestigious halls of fashion. Naturally, Rihanna bought in. She is a connoisseur of rare Vuittons; witness her 1998 World Cup football-shaped bag and her selection of limited-edition vanity cases made in association with artists like Takashi Murakami and Frank Gehry. It’s not surprising that a gritty version of the Alma is now supporting the businesswoman’s archive since she already owns a Sprouse adaptation of the beloved Speedy and the Pochette.
The fashion industry loves Rih’s high-low styling, and she pulled off this punky monochrome throwback with a faux fur coat skillfully shrugged over her shoulders to show off a lace bralette underneath a crop top, black pants, and Perspex heels. Sunglasses and chunky chain jewelry are now essential pieces for any Rihanna ensemble, along with her self-aware smile that indicates she’s pulled off something exceptional. This summer, Sprouse’s famous doodles will probably appear on your social media feed. Louis Vuitton values Rihanna’s midas touch far more than its most recent successful collaboration. Summer of hot graffiti is coming!
