Levi's and Beyoncé release The Denim Cowboy film
Featuring pieces from the new Beyoncé x Levi's denim collection, the film highlights standout items like the Western Crystal '90s Shrunken Trucker and the newly introduced 501 Curve jeans, designed to celebrate curves while preserving the classic 501 silhouette. The narrative unfolds with Beyoncé winning a pool game against a local 'shark' played by actor Timothy Olyphant, claiming his 501 jeans as the prize.
Set to an exclusive edit of "Levi's Jeans" from Beyoncé's Grammy-winning Cowboy Carter album, the 90-second film was directed by Melina Matsoukas, who also helmed the previous chapters. It continues Levi's tradition of working with acclaimed creatives, including cinematographer Marcell Rév and photographer Mason Poole.
Kenny Mitchell, Levi's Global Chief Marketing Officer, called The Denim Cowboy a celebration of reinvention in a press release: 'The campaign has put women at the center of the narrative and set in motion a new, iconic chapter in Levi's history.'
The Beyoncé x Levi's denim collection launches August 7 on Levi's website and in select stores. The campaign rolls out globally across TV, digital, social media, and out-of-home platforms.
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Fashion United
4 hours ago
- Fashion United
Levi's and Beyoncé release The Denim Cowboy film
Levi's has unveiled The Denim Cowboy, the final chapter in its year-long REIIMAGINE campaign in collaboration with Beyoncé. The film brings together previous campaign installments—Launderette, Pool Hall, and Refrigerator—into a single story centered on empowerment and modern reinterpretation of Levi's heritage. Featuring pieces from the new Beyoncé x Levi's denim collection, the film highlights standout items like the Western Crystal '90s Shrunken Trucker and the newly introduced 501 Curve jeans, designed to celebrate curves while preserving the classic 501 silhouette. The narrative unfolds with Beyoncé winning a pool game against a local 'shark' played by actor Timothy Olyphant, claiming his 501 jeans as the prize. Set to an exclusive edit of "Levi's Jeans" from Beyoncé's Grammy-winning Cowboy Carter album, the 90-second film was directed by Melina Matsoukas, who also helmed the previous chapters. It continues Levi's tradition of working with acclaimed creatives, including cinematographer Marcell Rév and photographer Mason Poole. Kenny Mitchell, Levi's Global Chief Marketing Officer, called The Denim Cowboy a celebration of reinvention in a press release: 'The campaign has put women at the center of the narrative and set in motion a new, iconic chapter in Levi's history.' The Beyoncé x Levi's denim collection launches August 7 on Levi's website and in select stores. The campaign rolls out globally across TV, digital, social media, and out-of-home platforms.
Spectator
8 hours ago
- Spectator
Why the world is obsessed with white women
Until a couple of weeks ago, the clothing company American Eagle was mainly known as a kind of low-rent Levi's. Founded in 1977, headquartered in Pennsylvania, the firm – specialising in denim, casualwear and kids' clothes – has quietly expanded into Europe, and beyond, without ever generating much excitement. Let alone a worldwide culture war. All that changed in July, when the company launched a new ad campaign featuring the petite, sassy, curvaceously ubiquitous actress Sydney Sweeney – very much This Year's Blonde – draping her desirable shape in the company's clothes. Several ads have been made, they all feature variations on the line 'Sydney Sweeney has great jeans.' A clear pun on genes. The result, whether intended or not, has been online uproar. Entire data centres have been devoted to churning out TikTok reels and YouTube mewls where women – and it is nearly all women – complain about the ad blitz, denouncing its connotations of white supremacy, of eugenics, of Nazi racist hierarchy – and of enforcing 19th century imperialist ideals of European beauty. All the more since Sweeney has been identified as a registered Republican in Florida. Some of the women complaining are white liberals, many are Asian or black (often in tears of fury or distress). Sydney Sweeney, of course, is notably young, blonde, blue eyed – and white. And there, I fancy, is the rub. What we are witnessing is not peculiarly or entirely a modern kulturkampf against renewed colonialist discourse. What we are witnessing is, as well, the age-old and rather awkward fact that pale/white women are perceived by almost all humanity as more desirable, and have been for all of recorded history. And this evokes – understandably – resentment, envy, anger, even rage, and now tearful TikToks, in others. Don't believe me? Think I'm trolling? Let me run you, like a blonde girl dancing through harvest corn in a retro cereal ad, by the plentiful evidence. As long ago as 3000 BC Egyptian art shows high class women (or deities) as being desirably paler than males. This can be found on tiny faience figurines and enormous funereal paintings, and it persists for 30 centuries. Egyptian love poems also praise the pale skin of mortal sweethearts – the earliest written evidence for the preference. Again, this poetic trope lasted for millennia. Moving on to Greece and Rome, we find the same pattern. Upper class Greek women were so keen to enhance their whiteness they used toxic white lead as face paint (a phenomenon which recurs throughout history – think of England's white virgin Queen, Gloriana). The concept – white women best – was amplified in Imperial Rome. The poet Ovid explicitly mentions it in his work Medicamina Faciei Femineae. Like the Greeks (and so many others) high-status Roman women used dangerous cosmetics – cerussa –to preserve the wanted pallor. Cleopatra bathed in asses' milk to accentuate the milkiness of her skin. Nor is this exclusively a European and Middle Eastern phenomenon. In Ancient Han and Tang China, the preference for white skinned women was deeply ingrained. The legendary beauty Wang Zhaojun was famed for her 'pale skin'. Chinese women even drank 'pearl powder' to achieve a pearly whiteness. Further east, in Heian Japan, the yearning for whiteness was easily as marked, with porcelain pale skin seen as the acme of loveliness (think of white painted geishas, even today). An enduring Japanese proverb says 'white skin covers the seven flaws' implying that white skin is such an erotic prize, it can compensate for other physical or social disadvantages. One of the most notable examples of this socio-cultural phenomenon can be found – perhaps ironically – in Islam. Many know that dead jihadi warriors are promised '72 virgins in paradise', fewer realise that the Quran and various hadiths promise, overtly, that these wonderful virgins will be white: fragrant 'houris' with skin so translucent you can 'see the marrow in the bones'. This urgent preference for white-skinned women runs throughout Islamic history. Early Islamic warriors were fired up for battle against Byzantium with the promise of 'the white girls' they would find as booty within Byzantine cities. Over following centuries Muslim emirates, kingdoms and empires made plain their wants via the slave trade, where white women – especially blondes – fetched far higher prices in the slave markets of Constantinople. Some historians have argued that the southwards Viking slave trade through Russia existed primarily to sate this imperious Muslim hunger for white skinned blue-eyed blondes, fetched from the British Isles, northern Europe, and Slavic countries. Circassian girls from the Caucasus mountains – famed for their soulful whiteness – were exported throughout the Islamic world, and this trade continued into the early 20th century. The case is made, but not explained. Why has much of the world desired paler, whiter women? The obvious answer is that, through most of history, darker skin has denoted outdoors toil, farmwork, poverty. The ability to avoid this and stay indoors, or under a parasol, soon became associated with high status and elite women, and thus a sun-less pallor became a near-universal preference. There are also some highly contentious evolutionary explanations. Women of all ancestries tend to be paler than men, paleness therefore equals femininity, ergo 'the more paleness the better.' There is also some evidence that female skin darkens as women age, so whiteness or paleness perhaps equates to youth, fertility, nubility. And desirability. None of this denies that European colonisers – in the 19th century – imposed grotesque, racist European ideals of beauty across the world. Nor does this deny the real harm that rigid beauty standards can inflict. When young women of colour grow up seeing only pale-skinned models celebrated in media, when skin-lightening creams cause genuine physical damage across Africa and Asia – these things are immoral or unjust. But the truth is, 'white woman equals beautiful woman' is a concept so deeply rooted in human culture, right back to the Sumerians, it is probably ineradicable. Will any of this matter to Sydney Sweeney and American Eagle? Maybe they will be intrigued that their ad campaign is perpetuating a stereotype that dates back to an early Egyptian poet near Luxor, who praised his lover's 'brilliantly white, shining skin'. They will probably be more excited by the fact that, as I write, American Eagle's stock price has risen 10 per cent.
Daily Mail
19 hours ago
- Daily Mail
Rita Ora to release new music 'in a matter of days' after recording a song for huge Netflix reality TV series
Rita Ora is set to release new music on behalf of a huge Netflix show. The How We Do singer, 34, has recently been in the studio cooking something up for the dating series Love Is Blind UK. According to reports, she is set to bring out a song named Joy - which is a powerful track about 'finding inner peace' and is expected to be released in the coming days. A source told The Sun: 'It's no secret that Rita loves love so she jumped at the chance to record a track for Love Is Blind UK.' She is set to release her fourth studio album very soon, but Joy won't be apart of it. They described Joy as a 'mini side-project' rather than being part of the new album. The source added: 'The song will be used on the show and be available to stream but there are no plans for a video or to send it to.' Rita recently revealed how Beyoncé has always been her 'protector' as she discussed being hit by speculation that she was 'Becky with the good hair'. Beyoncé's smash hit 2016 album Lemonade featured poignant lyrics about cheating and she sang about the mysterious woman in her track Sorry. Fans widely speculated it referred to alleged infidelity by Beyoncé's husband Jay-Z with a woman called 'Becky', and theories began circulating online about her identity. Rita found herself at the centre of the rumours as she was wrongly accused of having an affair with Jay-Z, with the singer forced to hit back and deny the claims. Now, Rita - who was represented by Jay-Z's Roc Nation label at the time - revealed she was so upset by the claims because Beyoncé has always been her 'protector'. Speaking on Davina McCall's Begin Again podcast, Rita explained: 'Behind closed doors, [Beyoncé] is literally my fairy godmother, she was my protector - that's what's insane because there was nothing but love.' Rita also admitted that she felt 'ugly' in her late twenties because she 'wasn't as thin as other people'. The singer appeared on Fearne Cotton's Happy Place podcast in partnership with Dove's Self Esteem Project for a candid body confidence chat. Rita opened up about how her relationship with her body has changed in recent years, as she revealed she used to feel like her body wasn't 'hot'. 'I think for me the idea of looking a certain way in my late 20s, that's when it started to hit me because my stamina was low, I wasn't looking after my body, I was getting sick a lot and I didn't feel like my body was hot,' Rita said. 'And I didn't accept the idea of okay well I'm not as thin as these other people - and so I'm ugly. And that's really sad to think back on because I know I wasn't.
