Pooja Pillai is an entertainment journalist with Asian Media Group, where she covers cinema, pop culture, internet trends, and the politics of representation. Her work spans interviews, cultural features, and social commentary across digital platforms.
She began her reporting career as a news anchor, scripting and presenting stories for a regional newsroom. With a background in journalism and media studies, she has since built a body of work exploring how entertainment intersects with social and cultural shifts, particularly through a South Indian lens.
She brings both newsroom rigour and narrative curiosity to her work, and believes the best stories don’t just inform — they reveal what we didn’t know we needed to hear.
Punjabi music sensation AP Dhillon sparked waves as he appeared alongside Pharrell Williams at the highly anticipated Louis Vuitton Men's Fall/Winter 2025-26 presentation during Paris Men's Fashion Week. The event, hosted at the renowned Louvre, featured a star-studded roster of worldwide personalities, including BTS member J-Hope, Bradley Cooper, Travis Scott, and others. Dhillon's appearance was significant, as he became the first India-born Punjabi musician to make it to Paris Men's Fashion Week.
AP Dhillon, seated in the front row with global icons, grabbed attention in a striking Louis Vuitton attire. His outfit merged streetwear aesthetics with the classic Louis Vuitton luxury, reflecting Williams' distinct approach to fashion. Dhillon sported a sophisticated workwear blouson crafted from silk-wool double-face fabric, worn over Japanese denim skate jeans in a versatile light blue wash. The look was completed with the signature LV Chequer military-inspired boots, presenting a fusion of utility and high-end artisanship that has become a hallmark of Williams' designs.
AP Dhillon steals the spotlight at Paris Men’s Fashion Week Instagram/apdhillon
Talking about his debut at the fashion week, Dhillon stated, "Being present at this intersection of culture and luxury, especially in a space as iconic as the Louvre, represents a turning point not only for me, but for the entire creative community. Pharrell's vision for Louis Vuitton celebrates multiculturalism, and I'm pleased to be a part of a narrative that is redefining the fashion landscape."
Pharrell Williams, who continues to transform Louis Vuitton's legacy, turned the Louvre into a spectacular fashion extravaganza. Williams is known for using Paris's renowned monuments as backdrops for his shows, which had earlier taken place at the Pont Neuf, Jardin d'Acclimatation, and UNESCO Headquarters. His collaboration with streetwear pioneer Nigo reaffirmed Louis Vuitton's commitment to bridging multiple cultural influences and integrating streetwear into the realm of contemporary luxury fashion.
Pharrell and Nigo’s Louis Vuitton Fall-Winter 2025 show at the LouvreInstagram/louisvuitton
The event additionally marked Nigo's return to Louis Vuitton, following his spectacular 2020 capsule collection with the late Virgil Abloh. The show featured an impressive lineup of cultural and fashion icons, including Jackson Wang, BamBam, Victor Wembanyama, Leon Marchand, Future Pluto Hendricks, Don Toliver, Pusha T, Sabrina Elba, Idris Elba, ASAP Nast, Aron Pierre, Adrien Brody, J Balvin, Dylan Wang, Slick Rick the Ruler, and Tyshawn Jones.
AP Dhillon's presence at this milestone event highlighted not just his own victories, but also the expanding global recognition of Punjabi music and culture. His participation bolstered Louis Vuitton's narrative of multiculturalism and ingenuity, making the show a historical turning point in the history of contemporary fashion.
As Pharrell Williams strives to integrate multiple artistic influences into Louis Vuitton's legendary history, Dhillon's presence in this cultural collaboration marks a new era of global representation and creativity.
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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