While there are many standout moments from Rihanna’s third volume of the Savage x Fenty show, the newly-minted billionaire made one especially standout artistic choice. And yes, it pertained to something as simple as her playlist selection. Specifically, reinvigorating the work of Busta Rhymes, who many of the present age seem all too often to forget about (even though he recently released a sequel song to “I Know What You Want” with Mariah).
Starting with “Touch It” at the twenty-one-minute, fifty-two-second mark of the production, the Busta songs continue for a sizable portion of the show, including his 1997 classic “Put Your Hands Where My Eyes Could See.” The circular structure of this part of the hotel where the segment takes place gave art director Willo Perron plenty to play with aesthetically, as he likened the building’s accommodation of large-scale production theatrics to “a postmodern Busby Berkeley” sort of set. And yes, the choreography particularly reminds one of that legendary auteur from “back in the day” as dancers engage in highly physical, synchronized choreo that only this precise kind of architecture could do justice to. In conjunction, of course, with the Busta playlist. For example, dancers clad in the Savage X satin pants or the Cold-Hearted Snake asymmetrical catsuit lose all control (while simultaneously being extremely in control) to Rhymes’ 2004 hit, “Light Your Ass On Fire.” Except it’s almost as though Rihanna is the one singing the words, “I know you starvin’ for this shit/I can feel your hunger.” For she’s constantly doing her best to keep up with the demands of her audience, now consumers more than listeners.
Much to Olivia Rodrigo’s chagrin, Sabrina Carpenter soon turns up as the signature bassline of “Put Your Hands Where My Eyes Could See” starts to reverberate through the space. Erykah Badu (looking like the new Supreme) also eventually appears to model some snakeskin attire (albeit a more modest look than others) as her music is interpolated into the rhythm of Busta’s via “Love of My Life (An Ode to Hip-Hop).” During this segment as well, Gottmik—best known by some as being the first trans man to compete on Drag Race—shows up to sport the Cold-Hearted Snake unlined lace demi bra. To keep the inclusivity motif of Rihanna’s brand going, Lauren Wasser then casually walks past with her famous golden legs.
After Badu steps into the elevator to switch floors, the pacing grows more lively again as “Pass the Courvoisier” prompts the models/dancers (led by Jeremy Pope in this scene) to go all out. Ironically, of course, Busta’s messages in most of his songs don’t quite scream out the progressive angle Rihanna is going for with her lingerie line (e.g. when Busta demands, “Too much hair on your chocha/Shave it off”). But it’s hard to blame Ri for finding the beats of these songs too irresistible not to use in the show. And she was sure to save the most irresistible of all Busta tracks for herself so she could make a cameo to the salacious tones of “What’s It Gonna Be?!” featuring Janet Jackson. Lying on a red couch in fishnets and red snakeskin lingerie, Rihanna gives us the choreo that we may never again see in one of her own music videos. She’s also around for the segue into “Break Ya Neck” as a tracking shot moves through the spiral-y structure to show us all the models strutting around in their scanty attire. Busta’s playlist portion concludes here, at the twenty-nine-minute, thirty-six-second mark, making him the dominant “musical act” of the show despite not manifesting in the flesh.
With Jade Novah performing during the theatrical introduction that occasionally features Cindy Crawford looking somewhat lost (kind of like one of the murder victim-turned-ghosts in American Horror Story: Hotel), The Westin Bonaventure Hotel & Suites in Downtown LA provides the necessary dramatic backdrops to suit a spectacle of this nature. Models crawling up a winding staircase, trumpets sounding and an overhead shot of the vaginal-like hole created at the center of the staircase—it all adds up to more than the usual amount of theater for a fashion show.
Soon, the elevator is being made use of thanks to BIA entering the scene to perform “Cover Girl” while sitting inside of it dressed in the matching fuji apple green Caged lace skirt and balconette bra. She then struts out of the elevator to sing her signature, “Whole Lotta Money.” As myriad models of all shapes and sizes flank her, BIA wraps up the song to open the curtain on Normani in a red room dressed in a snakeskin bodysuit. Very much emulating the video for “Wild Side” as she sings it, Normani maximizes the simplicity of the room by putting all the attention on her various yoga-like poses. The show then transitions to a cameo from Madonna’s daughter, Lourdes Leon, clad in something very “Human Nature” video-approved—specifically the Leather Tease vinyl booty shorts and its matching low-cut balconette bra. Madonna most assuredly taught her spawn well in the art of la séduction. Complete with a scene of a round bed in the elevator that smacks of what M was doing during her provocative “Like A Virgin” performance from the Blond Ambition Tour (side note: “satin sheets are very romantic, what happens when you’re not in bed?”).
Next, Emily Ratajkowski (a girl who further proves that we’re living in a simulation with her hybrid Kendall Jenner meets Dua Lipa look) is filmed in a chauffeured car to the tune of N.E.R.D. and Rihanna’s “Lemon”—one of the few musical efforts Rihanna has made since releasing her last album in 2016. But, as this fashion show evidences (along with becoming a billionaire), it’s not as though RiRi has been “lazing around.” For it seems she has come to understand that there is greater value in being a businessperson in terms of wielding ultimate power as a Black woman. Because, like Beyoncé said, “Best revenge is your paper.” Revenge, in this case, pertaining to a “I’m doing it for all of us” kind of philosophy with regard to setting a precedent for future Black entrepreneurs. Even though, to be honest, capitalism is pretty nefarious no matter what color you are.
As Ratajkowski removes her smoking jacket to join the other models on the roof, a medley of Ricky Martin songs, including the underrated “Maria,” builds up to the actual appearance of the late 90s/early 00s heartthrob (a sort of precursor to Maluma).
It’s subsequently “elevator going up” as Vanessa Hudgens showcases the same lingerie BIA was wearing earlier, except hers is in white. Sporting little else except cornrows, she peers through a light that leads us into the next room where “On It” by Jazmine Sullivan slows down the mood. Fellow Lourdes Leon cohort, Irina Shayk then comes around to seduce anyone that might cross her path in the Cold-Hearted Snake lace teddy. Others join in as Sullivan appears as well, suggestively crooning, “I want to sit on it/So tell me why you deserve it/Come on and prove/Why I should move/Spit on it.” There’s probably no song better suited, in fact, to a lingerie fashion show.
Soon, we’re back on the rooftop with Daddy Yankee (because Rihanna loves to throw it way back) picking up the pace as models/dancers wearing the Romantic corded lace unlined balconette bra and matching gathered mesh strappy bikini muck about to “Métele El Perreo.” After finishing his song, we’re back in the elevator with Adriana Lima—because what would a lingerie extravaganza be without her (even if she hung up her Angel wings a while ago)?
With a few other memorable moments, including Nas singing “Hate Me Now,” saved for the end of the show, Rihanna concludes by taking the now infamous elevator up to the roof and joining, pointedly, only the male models in the Savage X satin pants who were previously dancing wildly to Busta Rhymes—the true star of this Savage x Fenty show.
