Louis Vuitton Names Jeremy Allen White as Brand Ambassador
PARIS – After flirting on the red carpet, Louis Vuitton and Jeremy Allen White have made their relationship official: the U.S. actor has been named as the French fashion's house new brand ambassador.
For his Met Gala debut in May, White wore a custom black pinstriped three-piece suit with pearl buttons and flared trousers, with a white shirt and tie, in keeping with 'Superfine: Tailoring Black Style' theme of this year's edition.
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Best known for his role as chef Carmen 'Carmy' Berzatto in the comedy-drama series 'The Bear,' White also wore Vuitton to the SAG Awards in February. He rocked a flared black three-piece single-breasted tuxedo without a bow tie, but accessorized with a gold brooch – a far cry from the signature white T-shirt and chef's apron he wears on TV.
'Jeremy's got a quiet confidence and authenticity that you can't fake. It's effortless. At Louis Vuitton, it's about real people who move culture forward—and Jeremy lives that. We're proud to welcome him into the family,' Pharrell Williams, men's creative director at Vuitton, said in a statement on Tuesday.
The partnership marks a stylistic evolution for White, who previously channeled classic Americana and nonchalant cool in campaigns for Calvin Klein. Images of the actor, stripped down to his underwear in the brand's spring 2024 ads, quickly went viral on social media after their release last year.
White's breakout role came in 2011 when he was cast as Phillip 'Lip' Gallagher in the U.S. series 'Shameless,' in which he starred during the show's entire 10-year run. But it was 'The Bear' that made him a star, winning him back-to-back Emmy, Golden Globe and SAG awards, to name just a few.
He could have another busy awards season next year. White will appear as Bruce Springsteen in the biopic 'Deliver Me from Nowhere,' set for U.S. release in October. Directed by Scott Cooper, the movie will chronicle Springsteen's journey towards completing his 1982 album 'Nebraska.'
White will also join the cast of the 2026 'Star Wars' film 'The Mandalorian & Grogu' as the voice of Jabba the Hutt's son, Rotta the Hutt.
At Vuitton, he joins a roster that includes actor Bradley Cooper, rapper Pusha T, K-pop sensations such as Felix of Stray Kids, as well as athletes Victor Wembanyama and Carlos Alcaraz, among others.
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Yahoo
28 minutes ago
- Yahoo
13 of the late Brian Wilson' s finest songs to revisit
Brian Wilson's death on Wednesday at the age of 82 heralds an end to one idea of Southern California — as the temperate paradise of ascendant Americana. Exuberance and dreaminess, writerly sophistication and technical ambition, drugs and madness: Wilson's exquisite craft captured all of it, with his band the Beach Boys leaving behind a singularly inventive and exultant body of work, one that scripted and embodied California to the world. His vast catalog of incomparable achievement also contained thwarted hopes and despair amid his drug abuse and mental illness. It should be revisited in its full range today. These are a few of his hallmark accomplishments as a writer, arranger and performer. Surfer Girl (1963)Unbelievably, impossibly the first single that Brian Wilson ever wrote. So sophisticated and delicate in its moon-eyed teenage passions, full of artful melodic moves bolstered by the pure-water harmonies that would define the group. The song that set the template for a SoCal subculture, and a band to eventually rival the Beatles. In My Room (1963)Perfectly captures the loneliness and sanctity of young solitude over a lovely doo-wop arpeggio. It's a bracingly vulnerable track for a boy band to write in any era of masculinity. Warmth of the Sun (1964)What a beautiful composition to come right in the wake of the Kennedy assassination. Soaked with loss, redeemed by those radiant chord changes showing Wilson's escalating ambitions as a writer, here with Mike Love. Don't Worry Baby (1964)Riffing off the Ronettes' hit the year before, this early cut served double duty as a sincere portrait of romantic comfort and safety, and a reassurance for Wilson's own insecurities as a performer on stage and in life. The regal vocal here proved it worked. Please Let Me Wonder (1965)An absolute swoon. Wilson was ramping up to the sonic inventions of 'Pet Sounds,' but this era-transitional single captured the old lovelorn magic and dreaminess in an increasingly robust arrangement. California Girls (1965)Written with Love after the Beach Boys' first European tour, this hallmark single is diabolical in its sincerity and craftsmanship, a gobsmacked appreciation for all the world's women that probably did as much to build the Golden State's global reputation as Hollywood and the microchip. Caroline, No (1966)It's hard not to pack this list with songs from 'Pet Sounds,' but this one stands out for its poignancy about time passing and the grind of life changing a lost love. Wilson regarded it as one of his best, and with its striking instrumental palette of harpsichord and flutes, it's easy to agree. God Only Knows (1966)From the opening bait-and-switch lyric to the quiet, tidal shifts in tone and that regal outro, it may be the emblematic Beach Boys song. It will never lose its potency as a crowing statement of devotion. Go get married to it, or ponder its existential desperation. Good Vibrations (1966)Probably the definitive Beach Boys single in that it has absolutely everything they're beloved for — compositional genius, technical invention and immaculate performances spliced from four different studios into one incandescent, emblematic single. Darlin' (1967)The Beach Boys were in decline by 1967 — in health and hipness alike. Wilson revamped a song he wrote with Mike Love (for what became Three Dog Night). Now as a rollicking horn-driven soul number (with a great vocal from Carl Wilson), it became an unexpected highlight of this era for the band. Cabin Essence (1969 and 2004)A core piece of the mangled, unfinished 'Smile' sessions, the song took Wilson four decades to get right and finally release as part of his own effort to finish the LP. It's packed with ideas from all over the American songbook — Aaron Copland and western folk, run through with Wilson's own cracked impressionist view of life on the rails. Surf's Up (1971)'A blind class aristocracy, back through the opera glass you see / The pit and the pendulum drawn.' An elegy for the hopeful '60s, with a wry title that lays the band's old sunny optimism in the grave. Til I Die (1971)A wrenching composition evoking a declining Wilson's hopelessness and despair, all the more striking for its exuberant production. It feels even weightier on today of all days — 'How deep is the ocean, I've lost my way.' Get notified when the biggest stories in Hollywood, culture and entertainment go live. Sign up for L.A. Times entertainment alerts. This story originally appeared in Los Angeles Times.
New York Post
40 minutes ago
- New York Post
Famed Hudson Valley diner — believed to be the last of its kind still standing — asks $1.2M
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Elizaville Diner and Deli Located in Columbia County's hamlet of Elizaville, the 2-acre property includes the original prefabricated diner — thought to be the last of its kind still standing — and a separate, renovated deli structure overlooking a spring-fed quarry lake. Though both buildings are currently closed to the public, the site has continued to attract filmmakers, musicians and brands. Most notably, it served as the eerie backdrop for Jim Jarmusch's zombie flick 'The Dead Don't Die,' starring Bill Murray and Selena Gomez, and has made cameos in Apple TV+'s 'Brightside' and Rolling Stones-branded content. 'It's really a beautiful spot,' said Shaina Marron, the Houlihan Lawrence broker handling the listing. 16 It was painstakingly restored with original details like terrazzo floors, red vinyl booths, tabletop jukeboxes and a chrome soda fountain. This Old Hudson 16 The only known surviving example of its kind, the Elizaville Diner has since become a sought-after film and photography location, with credits including 'The Dead Don't Die' and Apple TV+'s 'Brightside.' This Old Hudson 16 Though it is currently no longer operating as a diner, the space has continued hosting private events and productions. This Old Hudson 'The owners basically just had a life change and they had to go back to their family … They really did a ton of amazing work on this space and just kind of really taking it to the next level.' The diner's story begins far from the Hudson Valley — back in Lebanon, Pennsylvania, where it originally opened as the Eat Well Diner. Constructed in 1956 by Kullman Dining Car Company, it eventually fell into disrepair and was slated for demolition in the early 2000s to make way for a car dealership. That's when the former owners stepped in, rescuing the building just days before its scheduled teardown. 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Its smoke-stained brass interiors, once dulled by decades of coffee steam and cigarette smoke, revealed their true colors after restoration: blue and chrome, gleaming like new under the soft glow of retro pendant lighting. 'It's got a fully functional kitchen and all equipment comes with it. So it's kind of really ready to roll,' Marron said. Inside, every detail oozes mid-century charm: terrazzo flooring, red vinyl booths, tabletop jukeboxes and a full-service soda fountain behind the counter. 16 Several film and television shows have, and continue to, rent the space for production. The Elizaville Diner and Deli 16 Listing rep Shaina Marron of Houlihan Lawrence said the site is 'ready to roll,' with a fully equipped kitchen, air conditioning, and a full basement — a rare upgrade for a diner of its era. This Old Hudson 16 It also includes parking for over 40 cars and a grassy backyard that slopes down to a spring-fed quarry lake, offering potential for outdoor seating and live music. This Old Hudson 'It has the majority of the original details … a lot of really gleaming chrome aspects to it,' said Marron. The companion deli next door offers a checkerboard-tile aesthetic that wouldn't be out of place in a David Lynch dream sequence. The two buildings are connected through a back passthrough, allowing food service to flow between the diner and the deli's walk-in coolers and prep area. The property also includes three bathrooms, ample storage in the cement basement and parking for more than 40 vehicles — making it as functionally viable as it is visually iconic. Its backyard offers sweeping views of the spring-fed quarry, an unusually scenic feature for a commercial property and a possible setting for outdoor dining and events. 16 The current owners, who revitalized the space further over the past four years, are moving due to family needs. This Old Hudson 16 Marron said the community would love to see the new owner maintain the diner's original spirit, though the property's flexible layout allows for a range of uses. This Old Hudson 'There's, I think, a lot of opportunity there to expand it however you see fit,' Marron said. 'You could even expand it in a sense, putting a lot of additional seating out back and having some live music.' Moreover, it all stands in the vicinity of the Hudson Valley's most prime destinations, such as Rhinebeck, Red Hook, Tivoli and Germantown. Marron refers to the location of the diner as a 'sweet center spot.' Although the diner officially closed in the summer of 2024, it remains open to short-term film rentals and special events. Marron said that it's been a magnet for creative productions, and even drew nostalgic attention online when she posted the listing on Instagram. 16 Inside, the space remains a vivid time capsule, from gleaming aluminum finishes to the fully restored Jefferson Golden Hour clock. This Old Hudson 16 The buildings can be used together or separately, with the deli offering event space or retail potential. This Old Hudson 'One of the commenters wrote that his grandfather used to take him to it in Pennsylvania to go get like cherry pie,' she said. Since its Hudson Valley debut nearly two decades ago, the diner and deli have served more than just milkshakes — it has dished out memories, style inspiration and even a bit of small-town stardust. 'The chain of ownership has only been four people total,' Marron noted, adding that its history remains remarkably intact. The original design, down to the tabletop jukeboxes, still echoes with the sounds of a bygone era. 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Los Angeles Times
44 minutes ago
- Los Angeles Times
13 of the late Brian Wilson' s finest songs to revisit
Brian Wilson's death on Wednesday at the age of 82 heralds an end to one idea of Southern California — as the temperate paradise of ascendant Americana. Exuberance and dreaminess, writerly sophistication and technical ambition, drugs and madness: Wilson's exquisite craft captured all of it, with his band the Beach Boys leaving behind a singularly inventive and exultant body of work, one that scripted and embodied California to the world. His vast catalog of incomparable achievement also contained thwarted hopes and despair amid his drug abuse and mental illness. It should be revisited in its full range today. These are a few of his hallmark accomplishments as a writer, arranger and performer. Surfer Girl (1963)Unbelievably, impossibly the first single that Brian Wilson ever wrote. So sophisticated and delicate in its moon-eyed teenage passions, full of artful melodic moves bolstered by the pure-water harmonies that would define the group. The song that set the template for a SoCal subculture, and a band to eventually rival the Beatles. In My Room (1963)Perfectly captures the loneliness and sanctity of young solitude over a lovely doo-wop arpeggio. It's a bracingly vulnerable track for a boy band to write in any era of masculinity. Warmth of the Sun (1964)What a beautiful composition to come right in the wake of the Kennedy assassination. Soaked with loss, redeemed by those radiant chord changes showing Wilson's escalating ambitions as a writer, here with Mike Love. Don't Worry Baby (1964)Riffing off the Ronettes' hit the year before, this early cut served double duty as a sincere portrait of romantic comfort and safety, and a reassurance for Wilson's own insecurities as a performer on stage and in life. The regal vocal here proved it worked. Please Let Me Wonder (1965)An absolute swoon. Wilson was ramping up to the sonic inventions of 'Pet Sounds,' but this era-transitional single captured the old lovelorn magic and dreaminess in an increasingly robust arrangement. California Girls (1965)Written with Love after the Beach Boys' first European tour, this hallmark single is diabolical in its sincerity and craftsmanship, a gobsmacked appreciation for all the world's women that probably did as much to build the Golden State's global reputation as Hollywood and the microchip. Caroline, No (1966)It's hard not to pack this list with songs from 'Pet Sounds,' but this one stands out for its poignancy about time passing and the grind of life changing a lost love. Wilson regarded it as one of his best, and with its striking instrumental palette of harpsichord and flutes, it's easy to agree. God Only Knows (1966)From the opening bait-and-switch lyric to the quiet, tidal shifts in tone and that regal outro, it may be the emblematic Beach Boys song. It will never lose its potency as a crowing statement of devotion. Go get married to it, or ponder its existential desperation. Good Vibrations (1966)Probably the definitive Beach Boys single in that it has absolutely everything they're beloved for — compositional genius, technical invention and immaculate performances spliced from four different studios into one incandescent, emblematic single. Darlin' (1967)The Beach Boys were in decline by 1967 — in health and hipness alike. Wilson revamped a song he wrote with Mike Love (for what became Three Dog Night). Now as a rollicking horn-driven soul number (with a great vocal from Carl Wilson), it became an unexpected highlight of this era for the band. Cabin Essence (1969 and 2004)A core piece of the mangled, unfinished 'Smile' sessions, the song took Wilson four decades to get right and finally release as part of his own effort to finish the LP. It's packed with ideas from all over the American songbook — Aaron Copland and western folk, run through with Wilson's own cracked impressionist view of life on the rails. Surf's Up (1971)'A blind class aristocracy, back through the opera glass you see / The pit and the pendulum drawn.' An elegy for the hopeful '60s, with a wry title that lays the band's old sunny optimism in the grave. Til I Die (1971)A wrenching composition evoking a declining Wilson's hopelessness and despair, all the more striking for its exuberant production. It feels even weightier on today of all days — 'How deep is the ocean, I've lost my way.'
