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Seven months after THE BOYZ initially introduced their three-part Phantasy album series with Christmas in August, the K-pop group completed the 15-track project with the final chapter Love Letter.
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Led by the sentimental single “Nectar,” THE BOYZ member Kevin says the final chapter in their trilogy delivers an “emotional-but-hopeful kind of vibe” for Love Letter that contrasts the summery, shimmering pop single “Lip Gloss” for Christmas in August, and their dark and experimental “Watch It” single for Pt. 2 Sixth Sense. “At this point in our career, we want to tackle what we haven’t done before.”
“I really hope through this trilogy that we got to really emphasize Phantasy and our fans were able to see a lot of different sides of THE BOYZ,” Jacob told Billboard News‘ Tetris Kelly during a visit to Los Angeles with his members Kevin, Juyeon, Hyunjae and Eric. “As we are ending it off with ‘Nectar,’ saying goodbye to our bittersweet memories and going for our happier new future, I hope you guys just come along with us and we’ll be able to show you what we have in store.”
Now that their Phantasy releases are complete, THE BOYZ say it’s time to perform these new songs live for fans.
“Our fans have been dying for us to go on a tour and I think it’s about time,” Eric says. “We are going to make it happen this year,” with Kevin making sure to add, “We may or may not be seeing you in your own city/country.”
Before they do make their way back to the States, fans can stay on top of their additional musical activities by following them on TikTok where Kevin delivers Beyoncé covers, Jacob plays guitar in his pajamas, and all 11 of THE BOYZ sing, dance, and share their lives.
We don’t really get to do a lot of musical production in our group for our own music, so I like to experiment and do things on TikTok,” Kevin says. It’s my musical outlet, and I like to do a lot of covers there.”
Jacob agrees with that sentiment, adding, “Since we’re in a group, I don’t really get to play the guitar and sing for the fans, so I use TikTok for my pajama karaoke covers.”
While Juyeon, Hyunjae, and Kevin have all attended events and linked up with different fashion brands, like Dior, Gucci, and Jeremy Scott, the guys also shared some surprising insight into their personal style during the sitdown.
“Whenever we have events where our stylist can potentially dress us in casual clothing, we opt for our own clothes instead of our stylists’ clothes,” Kevin shares. “We like to dress ourselves as much as we can.”
Watch the full Billboard News interview above for more from Kevin, Juyeon, Jacob, Hyunjae and Eric on THE BOYZ’s Phantasy album, plus find out who among them is most likely to snack at midnight, run late getting ready, know another K-pop group’s choreography and more.
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XG announced the details of its highly anticipated first world tour kicking off in May, entitled XG 1st WORLD TOUR “The first HOWL.” The seven-member girl group that recently celebrated its second anniversary on Mar. 18 is set to launch its global trek in Japan two months later on May 18 and 19 at the […]
Fujii Kaze digitally released his highly anticipated new single called “Michi Teyu Ku (Overflowing)” on Mar. 15, a song written for the upcoming Japanese feature film April Come She Will. The 26-year-old artist also shared the accompanying music video for the new track helmed by the director of the movie, Tomokazu Yamada. “When I was […]
Creepy Nuts’ “Bling-Bang-Bang-Born” extends its reign atop the Billboard Japan Hot 100 to seven weeks on the chart dated March 13.
Boosted by news of the MASHLE season 2 opener’s global hit, the track gained significant exposure during the tallying week, including an appearance on the long-running live TV program Music Station on March 8 and a performance on The First Take YouTube channel released the same day. The hip-hop banger holds at No. 2 for downloads (22,288 units, up about 39%) and No. 1 for streaming (21,313,095 streams, up 0.2%), while coming in at No. 2 for karaoke, No. 15 for radio airplay, and No. 34 for video views. Overall points are up by about 6.2% from the previous week.
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Returning to the top 10 after seven weeks, Number_i’s “GOAT” shoots 32-2 following its physical release on March 6. The CD sold 481,475 copies in its first week, hitting No. 1 for the metric, and the ambitious rap anthem also ruled downloads (24,601 units) and radio. In other metrics, the former No. 1 hit comes in at No. 4 for video with 1,439,615 views and No. 27 for streaming with 3,389,427 streams. While it missed the top spot on the Japan Hot 100 by a narrow margin, it racked up more than twice as many points as the track at No. 3.
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Debuting at No. 3 is Sexy Zone’s 26th single “puzzle,” the four-man boy band’s final release under its current name. The theme song for a new drama series starring member Kento Nakajima launched with 296,056 CDs, about 45% more than its predecessor, “Jinsei Yuugi.” The track hits No. 2 for sales, No. 20 for radio and No. 83 for video.
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Other first-time entries in the top 10 this week are =LOVE’s 16th single “Norotte Norotte” at No. 6, selling 233,478 copies to come in at No. 3 for sales, and SUPER★DRAGON’s major label debut called “New Rise” following at No. 7, selling 77,221 copies to come in at No. 4 for the metric.
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The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from March 4 to March 10, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Sherine Abdel-Wahab’s illustrious musical career has flourished over two decades, defined by a versatile body of work that resonates deeply with audiences. With a portfolio of hits, Sherine Abdel-Wahab’s music continues to captivate hearts, dominating playlists across diverse streaming platforms and scaling the heights of the Billboard Arabia charts. Sherine’s impressive achievements and triumphs have paved the way for her to clinch a prestigious Global Force Award at Billboard’s 2024 Women in Music ceremony.
Since the launch of Billboard Arabia Hot 100 and Artist 100 charts in late 2023, Sherine has dominated the Top 100 Artists chart for eight out of 12 weeks, holding the No. 1 spot for the majority of that time and consistently ranking within the top three positions during the remaining weeks. Additionally, her presence on the Hot 100 chart has been formidable, with six of her songs maintaining a spot for a continuous 12-week period.
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The lasting success of Sherine’s tracks like “Kalam Einieh (Words of His Eyes),” which was the No. 1 song on Billboard Arabia’s Hot 100 when the chart released twelve weeks ago, and still holds the No. 5 slot, and the presence of several other tracks from her album Nassay (A Person Who Forgets), are a testament to Sherine’s ability to make timeless music. Meanwhile, her song, “Sabri Aleel (My Patience is Wearing Thin),” has persisted on Billboard Arabia’s charts and streaming platforms, where it continues to reign supreme even two decades after its debut. Meanwhile, the song has garnered viral attention on TikTok, finding new life by captivating a global audience, while transcending language barriers and cultural divide.
“I am thrilled that both my old and new songs are loved by listeners,” says Sherine. “They have embraced everything I’ve poured my heart into from day one. Seeing my tracks still topping the charts after twenty years is truly amazing! That was my dream and it feels great seeing it come true.”
Sherine’s musical journey is marked by a prolific discography and numerous collaborations. In 2005, she released her album Lazem Ayeesh (I Must Live) with Free Music Company, featuring hits like “Ala Bali” (On My Mind) and “Qal Saaban Alieh” (Everyone Feels Sorry for Him). Transitioning to Rotana, she dropped Batamenak (I Reassure You) in 2008, followed by Habeit (I Loved) in 2009 and Esaal Alaya (Ask About Me) in 2012, featuring standout tracks like “Beh Tehky Fe Eh?” (What Are You Talking About?) and “Wel Nabi Law Gani” (I Swear If He Comes to Me). Her sixth album, Ana Kteer (I’m a Lot), released in 2014, included memorable songs like “W Meen Ikhtar” (Who Chose?) and “Ya Layali” (Oh Nights!). Sherine also contributed to the soundtrack of the drama series Tareky (My Way), collaborating with poets and composers.
In 2016, she teamed up with Hossam Habib for the duet “Kol Ma Aghanni” (Everytime I Sing). Sherine’s 2018 album Nassay (A Person Who Forgets) garnered millions of views with diverse tracks such as “Kazbain” (The Liars) and “Al Watar Al Hassas” (The Sensitive String). Returning to Rotana, she released hit singles like “El Hob Khedaa” (Love is a Trick) in 2019, “Mish Qadd Al-Hawa” (I Can’t Afford to Love) in 2020, and “Kollaha Ghayrana” (All of Them Are Jealous) and “Khasimt Al-Num” (I Forgot About Sleep) in 2021.
Sherine attests much of her success to the ability to keep things simple, and real, saying, “It’s all about keeping it real. I’m just me, and that authenticity is what’s helped me connect with fans. Ultimately, it’s their love and support that fuels my success.”
About a decade ago, Sherine teamed up with global hip-hop star Nelly for the duet “Just a Dream.” The song became a massive hit upon its release and recently resurfaced on streaming platforms and social media. She recalls it fondly: “To be honest, Nelly and I hit it off right away. Despite my limited English, we managed to understand each other. I remember we were backstage and I really liked his mic, so I asked him if I could borrow it when we’re singing on stage, and he gladly gave it away!”
Sherine’s virality isn’t limited to the charts. In recent years her songs have found new life on social media, particularly through the remixes of several DJs, chief among them DJamil. In July 2023, DJamil mashed up Sherine’s “Eh Eh” with Drake’s “Hotline Bling,” clocking nearly 20 million views, followed by “Sabry Aleel” mixed with Busta Rhymes “I Know What You Want” in September 2023, which went on to amass upwards of 34 million views.
When revisiting some of the pivotal moments that left a lasting impact on her journey, she reminisced about her first performance on the legendary stage of Baalbek in Lebanon, and shared some insights into her special connection with the Lebanese audience, whom she considers a tough nut to crack.
“Standing on the same stage that Umm Kulthum graced 48 years earlier as the first Egyptian artist to perform in Baalbek was surreal,” says Sherine. “It felt like the Lebanese were not just welcoming me, but also paying tribute to me, and that was an incredible feeling. It’s moments like these that make all the hard work worth it.”
Last month, Sherine dropped her latest single “El Dahab,” which serves as an exciting preview of her highly anticipated new album. Fans have been eagerly awaiting this release, especially following her last album Nassay in 2018. Sherine graciously shared some details about what to expect from her upcoming album: “The new album has some great songs all set, but I’ve decided to wait a bit with Ramadan approaching. After Eid, I’ll start releasing them one by one. Times have changed, you know – it’s all about the singles now.”
As for the Global Force award she received at Billboard’s 2024 Women in Music, Sherine said she couldn’t be happier about such a global nod to the impact of her music, especially knowing that even the younger generations, including her own daughters, have taken to listening to her songs.
“My girls go to an English school and didn’t know much about my songs,” she says. “But recently, my daughter Hana began listening to my music and it’s incredible to see that I’m striking a chord with kids their age and the young generation who listens exclusively to English-language music. It’s a real thrill knowing they’re enjoying my Arabic melodies.”
She adds: “This recognition is huge for me. Seeing my daughters witness this global honor brings me immense joy, and it means a lot to me knowing they’re proud of their mom. At the end of the day, my fans and my daughters mean the world to me.”
Sherine Abdel Wahab
Hassan Hendawi
It’s the evening at the end of a typically packed week for Stray Kids, but the four-time Billboard 200 chart-toppers are unquestionably buzzing to discuss one of their big first projects in 2024, which they’ve deemed “the year of giving.”
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In the seven days ahead of this interview, Stray Kids members Felix, Seungmin and I.N. all attended different Paris Fashion Week shows — with Felix making his runway debut walking for Louis Vuitton in the luxury brand’s ready-to-wear 2024/2025 collection presentation — Han dropped a new song “13” via the group’s YouTube channel, Bang Chan also revealed his English song “Eternity” and its accompanying video on YouTube as Nylon Japan premiered a striking fashion film tied to his new magazine cover, and the entire group continued preparations for their upcoming fan-meeting concert “SKZ’S MAGIC SCHOOL” taking place at the end of March. Even when Bang Chan notes that “the Kids sometimes can be shy” in having all eight members discuss their latest endeavors, what comes through in both their full-group cheering responses is the vibrant assurance that SKZ are aiming to deliver something to touch both their beloved STAY fandom and global audiences at large.
Alongside three fellow superstar acts under their JYP Entertainment label, Stray Kids teamed up with Coca-Cola in late February for its new Coca-Cola K-Wave Zero Sugar drop that not only introduces a new “Fruity Fantasy” flavor but looks to honor the international K-pop fandom. The guys join ITZY, NMIXX, plus JYP Entertainment founder J.Y. Park for the Coca-Cola Creations joint single “Like Magic.” which was produced by Park, has Bang Chan credited as a vocal arranger, and Changbin as co-writer.
In addition to the new flavor and music video, the collab is delivering limited-edition apparel and accessories including a special lightstick, digital photo cards, a mobile “fan music video AI experience” via the Coca-Cola Creations microsite, all capped off with the K-Wave Concert for Inkigayo, scheduled for June 2 that promises to host JYP talent and other top K-pop names including Stray Kids, ITZY, NMIXX and more.
“The experience starts with an amazing Coca-Cola Zero Sugar taste accompanied by a dash of fruity K-pop magic,” adds Oana Vlad, the senior director of Global Strategy at the Coca-Cola Company. “We are excited to celebrate one of the most passionate fan communities in the world and create new experiences that we hope will bring Coca-Cola magic to fans across the globe.”
Looking ahead to the K-Wave Concert and the year that the group already confirmed will include — and you might need to a breath to take it all in — a fan-meeting concert, third world tour, an album, a “special” album, pop-up stores and loads more digital content, Bang Chan, Lee Know, Changbin, Han, Hyunjin, Felix, Seungmin and I.N. gave Billboard some additional insight into their first major 2024 project and what else is coming.
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Congratulations on launching this new campaign for the Coca-Cola K-Wave Zero Sugar. I think the first order of business is to know if you’ve tried it and what you think of this new flavor?
All: Yeah, tastes good!!!
Hyunjin: It’s really very nice. The taste was refreshing, a little like bubblegum, and a somewhat cloudy or misty feeling.
Seungmin: One of the best Cokes in the world.
You and several of your JYP Entertainment artists participated in this campaign that honors K-pop fandom. What’s your overall take on it?
Bang Chan: You know how you just mentioned how this campaign “honors K-pop fandom,” right? But it’s really an honor for us to be able to be in the campaign that honors K-pop fandom, you know what I mean? I feel like it’s just really a good opportunity for not only us, but the other artists in JYP to really spread out the word about K-pop and, that itself is just something that we are very honored to do. And hopefully, people out there can really look forward to the K-pop wave.
Changbin: I usually drink one or two Cokes a day—two Zero Cokes a day, that is! I’m so happy to be able to host this campaign with the actual drink and our JYP family; I think it’s very meaningful. I believe that Zero Coke can unite us all—K-pop fans, JYP family, and Stray Kids. I’m looking forward to continuing that love.
You all participated in the song and video for “Like Magic” alongside J.Y. Park, ITZY, and NMIXX. Changbin wrote alongside JYP, and Bang Chan is a vocal arranger. What was the process of working together?
Bang Chan: Vocal arranging is something that I’ve always done, especially with our own music and everything. But JYP himself was like, “Oh, Chan, you can just direct by yourself; you know the members better than I do, so just get all the vocals done.” And then with like the tuning, editing, the arranging — I figured that out myself as well, and it was a pretty cool experience because usually, we work on music on our own, but to do it for someone else like JYP, it was a great honor, and it was overall very, very fun.
Changbin: When I first heard the song, it was quite new and had kind of a fun feeling to me. So, I was really contemplating and thinking a lot about how to reflect and meld my rap style on it. I’m really happy that the results seemed really fine and Mr. JYP also said he’s happy with that. Also, getting to work with him after a long time, I was really thrilled because it’s been a while since I worked with him as the producer.
Moving from the production, how was it to collaborate on a song with so many of your fellow JYP artists?
Bang Chan: Our company is very much a “family-ship,” you know what I mean? We all looked out for each other, and having a chance to work on something together was really, really fun. I mean, we didn’t actually get to see each other at the music video set and everything — because everyone’s schedules are very, very busy and different — but it kind of felt like as if we were doing like JYP Nation [the name for company-wide JYP Entertainment songs or concerts].
Some of the members spent time as kids in different countries. Are there any special Coke flavors you remember loving as kids?
Felix: When I was younger, I remember drinking a lot of Vanilla…
All: Wow!!!
Felix: I remember I was at a party one time, there was a whole crate of Vanilla Coke and I was drinking, like, six at a time. I think that’s my biggest memory and that was with Vanilla Coca-Cola.
Coca-Cola also announced a K-Wave Concert for Inkigayo scheduled for June 2, where you will perform. Is there a chance fans can look forward to new Stray Kids music by then?
Bang Chan: It’s only March and we have so much to do for this year. Look, Jeff, I’m not going to spoil too much, but we have a lot prepared. I’m pretty sure you’re going to be surprised, but I can say we have many things prepared — very different from what we’ve done so far. So, hopefully, people out there can really, I guess, take it all in with our stuff that we’re going to come out with and everything goes well. Hopefully, STAYs really enjoy what we are going to bring out and 2024 can be another great year for Stray Kids.
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To expand slightly, the “2024 STEP OUT” video teased a lot. Is there anything else you can share?
Bang Chan: We’ll let your imagination get you there. [Laughs]
Fair enough. What else do we need to know as you begin 2024 with this first big collaboration?
Bang Chan: We’re always processing everything, but we’re just really confident and feel really great that we have STAYs out there because it’s all because of them that we’re getting all these great results. It’s a gift from STAY, and we just want to create more gifts for STAYs out there — 2024 is “the year of giving.” Hopefully, us Stray Kids can give more to not only STAYs, but to everyone out there. So, thank you Billboard for everything, and thanks to Coca-Cola for giving us this great experience and opportunity to work on a very great campaign.
Felix: And we look forward to the future! Today was very fun having to answer a lot of good questions and talk about the Coca-Cola campaign; it was great to get in-depth with it. We just hope that our messages can very clearly spread to the world and show a lot of positivity. We hope that [everyone] can enjoy this year’s Coca-Cola K-Wave edition — just can’t wait.
Japan born singer-songwriter Fujii Kaze is set to drop his new song “Michi Teyu Ku (Overflowing)” being featured as the theme of the upcoming movie called April Come She Will on March 15 and shared the cover art for the track. The new movie due in Japanese theaters Mar. 22 is a love story based […]
Creepy Nuts’ “Bling-Bang-Bang-Born” stays atop the Billboard Japan Hot 100 for the sixth week on the chart dated March 6.
The MASHLE Season 2 opener slips to No. 2 for downloads with 16,031 units, down by about 17.8% from the previous week, while streaming remains almost unchanged at 21,256,220 streams (No. 1), down by about 1.8%. The track comes in at No.11 for radio airplay and No. 3 for karaoke, maintaining a strong lead on the Japan Hot 100.
A number of new releases have entered the top 10 for the first time this week. Debuting on the list at No. 2 is SKE48’s “Ai no Hologram,” launching with 399,984 CDs — the second highest first-week record for the group after their previous release — to hit No. 1 for sales. The group’s 32nd single also comes in at No. 4 for radio.
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Bowing at No. 3 is NCT WISH’s “WISH.” The global boy band’s first single in Japan sold 93,186 copies in its first week to come in at No. 3 for sales. The track rules radio and comes in at No. 68 for video views, which helped overturn the difference in CD sales between the track debuting at No. 4 on the Japan Hot 100 this week, ATEEZ’s “NOT OKAY,” which launched with 307,329 CDs (No. 2 for the metric). This figure for the eight-member K-pop group’s third single in Japan (and the first in about a year) is a career high. It also comes in at No. 48 for downloads with 1,011 weekly units.
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Vaundy’s “Time Paradox” moves 25-9. The “Kaiju no hanauta” hitmaker’s latest release is the theme song for the latest animated Doraemon feature film called Doraemon the Movie: Nobita’s Earth Symphony that hit domestic theaters Mar. 1. After first charting at No. 39 on Jan. 17, the track gradually climbed the tally and broke into the top 10 this week after the CD dropped Feb. 28. First-week sales for the track totaled 5,286 copies to hit No. 13 for the metric, while also coming in at No. 13 for downloads with 2,625 units and No. 11 for streaming with 5,532,741 weekly streams. It also hits No. 3 for radio and No. 23 for video with 530,108 views.
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While still outside the top 10 on the Japan Hot 100 at No. 12, BE:FIRST’s “Set Sail” is this week’s No. 1 song for downloads. The latest release by the seven-member J-pop boy band was written as a collaborative effort with ONE PIECE CARD GAME, and is the lead track off the group’s upcoming concept single called “Masterplan,” due Apr. 24. The track debuts on the charts after being released Feb. 26, coming in at No. 24 for streaming, No. 53 for radio, and No. 37 for video.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Feb. 26 to March 3, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
One of the most remarkable parts of the recent Milano Fashion Week was Missoni’s tribute to its iconic striped style and creative history, which the Italian brand has carried forward with courage and innovation over the decades. That began in 1958 when Ottavio and Rosita Missoni created a provocative fitting at the Rinascente mall in Milan, covering the eyes of the mannequins with colored, striped scarves.
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It is from a harsh comment of that time (“Poor girls, luckily they are blindfolded — if they could see themselves”), that the fashion show of Missoni (“those of the stripes”) began. The models paraded on the catwalk, with the stripes moving in rhythm and appearing to expand on the clothes, dancing from head to toe, contracting and then slowing down.
The purpose is clear, the stripes help to understand it: everything is matched rather than mixed. To underline the models’ steps, Filippo Grazioli, creative director of Missoni, decided to have one long music track specially created by producer Andrea Mangia (aka Populous). Billboard Italy, Missoni’s music consultant and media partner for the show, sat down with Grazioli a few hours before the opening.
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Why did you call this new collection “The Ones of the Stripes”?
Since I arrived at Missoni almost three years ago, I have faced many challenges, both personal and professional. One of the main ones was to fully understand the essence of the brand and make it evolve. I spent a lot of time immersing myself in the archives of the historic Missoni headquarters in Sumirago and establishing a strong connection with the legacy of the company, which is a continuous source of inspiration. Working with such an iconic brand also means balancing respect for its history and the desire for innovation and change. In an unstable context like the one we live in, I wanted fashion to maintain a sense of fun – especially in the case of Missoni’s style, which is very colorful. My idea for the FW 24/25 women’s collection was to pick up Missoni’s old striped style and reinterpret it in a contemporary way.
What innovations do you think you have brought in these three years? On what principles was the concept of this collection formed?
My goal was to bring modernity, contemporaneity, desire, femininity and lightness to fabrics and graphics. In creating the collection, I tried to express a concept of freedom and femininity, playing with a contrast between masculine and feminine with silhouettes that mark the body and lengthen it and strong volumes that envelop it. To me, Missoni represents a style of “bien vivre,” in harmony with the values of “Made in Italy.” I am convinced that Missoni’s code suits many women well, offering a variety of styles that allow each to find their own unique expression.
You have a great passion for music. Who are the Italian singers who fascinate you and stimulate you the most for your work?
I have always wanted to link my work to the Italian and international music scene. Having lived in France for many years, I didn’t know Italian music that much, but when I returned to Italy, I immediately started working with Lazza, Elodie and Mara Sattei on their projects for Sanremo 2023, and then on those of Rose Villain, Emma and Negramaro for Sanremo 2024. The unique aspect of music is that it is borderless. As Missoni, our projects have opened up internationally, with Sabrina Carpenter, Beyoncé, Rita Ora and Suki Waterhouse.
How important is music for the success of a fashion show?
It is essential for its success. Music is the part that creates emotions. It must integrate perfectly with the collection, in order to convey a consistent message. Lou Reed is often my starting point. His songs always inspire me in so many different ways.
It was precisely by talking about “Walk on the Wild Side” that your creative interaction with Populous began. What did you find special about working with him?
He is a very inspirational professional. It was nice to talk to a creative mind who interpreted in music what I wanted to convey in the show. The exciting aspect was that it was the first time he wrote music for a fashion show, and he was excited. Having this type of exchange between creatives is essential.
Have you chosen an Italian artist to underline the sense of “Made in Italy” or do you not preclude collaborations with international artists?
I think it is essential to value Italian artists. We wondered whether to have an Italian voice in the show’s music precisely to emphasize the Italian identity, then we opted for lyrics in English to be able to reach the entire audience. But I don’t preclude myself from collaborating with international artists in the future.
John Richmond is a product of the British resourcefulness that has not stopped leaving its mark on fashion and music since the post-war period. An internationally renowned fashion designer, the fashion press associates him with rock n’ roll and punk, but with his works he embraces all the British musical genres that have influenced the rest of the world.
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He arrived in Italy in the early ’80s after earning a degree in Fashion Design at London’s Kensington University, and collaborated with brands that, in those years, were anticipating trends: Armani and Fiorucci. English individualism, which he himself talks about in the interview, is probably the reason why in 1987 he created the brand that bears his name.
He has a style that still influences international fashion today, thanks to his now iconic jeans model with the writing “RICH.” In the early 2000s, logo mania swept through many other brands.
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John Richmond, however, is not just fashion. Artists who perform with his clothes have included Madonna, George Michael, David Bowie, Mick Jagger, Annie Lennox, Axl Rose, Bryan Adams, Michael Jackson, Britney Spears, Lady Gaga and many others.
What is the song that most represented your youth?
It’s still one of my favorite songs of all time: “Life on Mars?” by David Bowie.
What musical memories do you have from your adolescence?
If you grew up in the early ’70s you can only have fond memories. We went dancing in teenage discos where Northern Soul reigned, a fantastic genre popular in the north of England. In particular, I used to go to the Wigan Casino, a renowned venue at the time. It was all a combination of things: music, clothing, appearance, style, attitude. A poor country can give you opportunities: in those years the youth were very disillusioned. Since then, all the things I’m interested in are driven by music. I grew up in Manchester, a very post-industrial, depressing place, but the great thing was we had some amazing clubs and a great music scene. After punk came new wave and then the New Romantic movement. There were artists for whom style, appearance, clothes were really important. Everyone knows Bowie’s songs, but they also know everything about his style: clothes, hairstyles, accessories, makeup. Bowie wasn’t just a singer: he embodied a powerful style.
Why has the United Kingdom, which sometimes appears to be such a detached country, been able to strongly influence the world of style, also in music?
First of all, we are able to laugh at ourselves, and that’s important. Then we live on an island, so we are completely isolated. When you have nothing else, you are forced to be creative. There were a lot of young people who didn’t have many opportunities. I think they were courageous, because they found within themselves the strength to move forward, not to remain isolated. If I look at other countries, there are great leaders in various sectors and people follow that one model, as if they don’t want to dare. In Italy, for example, there is a well-defined style. In England, if I see someone doing something in a certain way, I will do everything I can to do it better, certainly to do it my way: we English have an attitude for individuality.
As an expert in both sectors, what is the relationship between music and fashion?
I summarize it in one of my slogans: “Punk is an attitude, not a trend.” Punk is now much better known as a fashion style than for music. Punk music didn’t last long, but it never stopped permeating fashion. It came to life in the years when the fashion press was starting to become important. People who knew music well worked there. It was therefore easy to find mutual contamination in those pages. London was the site of these changes. I think of Terry Jones who, with Face and then i-D, was one of the most famous and innovative editors-in-chief. At the end of the ’80s music videos arrived, which had the same impact on the audience that TikTok has today. There was no artist who didn’t accompany his or her songs with a music video. We can therefore imagine the importance of clothes, makeup and hairdressing. In those years, if an artist needed an outfit, he or she would go and get it personally. You didn’t go to artists and say, “Here’s my dress, I’ll pay you to wear it at the Oscars.” Musicians would come to my shop, buy clothes and wear them. I remember funny things: the New Kids on the Block arrived on a small street getting out of a white limousine that couldn’t turn the corner and had to reverse. I worked with people like Depeche Mode, Eurythmics, George Michael. Now we realize that we were lucky protagonists of moments that changed the history of these two sectors: we were in the right place at the right time.
If you had to choose one music artist to best represent you, who would it be?
For me there is no absolute icon. I like to see how my clothes are interpreted by those who buy them. I’d rather think of a style. Rock n’ roll is certainly what has most pervaded my works. But I always want to evolve in line with what music offers: today I look a lot at hip-hop.
When do you listen to music?
Always. I only work with music in the background. I particularly love Gilles Peterson from BBC Radio 6 because he’s always looking for new things. Compared to before, I also changed the listening mode. I used to buy – let’s say – Horses by Patti Smith, come home, lie down in a dark room and listen to it for hours without stopping. Today I prefer to listen to what is offered to me by radio and platforms.
Besides “Life on Mars?”, what are some other songs that you would never delete from your playlist?
I would choose an album, The Dark Side of the Moon by Pink Floyd. Also, a few weeks ago there was an incredible Brazilian song featured on Gilles Peterson’s show. It is “Vento de Mayo” by Seu Jorge, produced by Miguel Atwood-Ferguson. I would add another album: Roxy Music’s debut, that really changed British music. And then the Sex Pistols, who influenced music all over the world.
If you wrote a song, what lines would it start with?
I could make the first line of Patti Smith’s “Gloria” my own: “Jesus died for somebody’s sins, but not mine.” As a boy who grew up in a Catholic context, attending a Roman Catholic school, these words had a strong impact on me. It was a powerful and liberating realization, taking away that sense of having to carry the sins of others on my shoulders.