Abloh covered the gravel paving at the Palais Royal gardens in Paris with an ombré rainbow carpet and then opened the gates to a guest list including 600 students from local architecture, art and fashion schools. For his Louis Vuitton men’s show debut in 2018, Mr. (At one of his last Vuitton shows, it was coats atop tunics over trousers with hats clamped on hoodies and bags slung around waistlines, across bodies and strapped to backs.)Īt times his shows could be as campy as a revival house matinee of a Warner Bros. Abloh generally favored a pile-on, whether of garments themselves or of references. Whereas seminal late 20th-century designers like Helmut Lang and Jil Sander worked from an aesthetic of crisp, if still sexy, subtraction, Mr. Yet right from the start he created cool “stuff,” in volume, through regularly timed drops and with a maximalist aesthetic that was often far from the sleek refinement of those designers that dominated the upper reaches of men’s wear when he was on his way up. “Me being here, in this space is about so much more than just making stuff that’s cool because it’s luxury,” Mr. If anything, he seemed more committed than ever to an expansive view of what constitutes both fashion and its message. Abloh, whose fingernails were painted gray that day, had just returned to work from what he referred to as a period of rest and reflection - a break from a punishing schedule that had once kept him on planes at least once a week for years - and that may in fact have been for the cancer that eventually claimed his life. Abloh treated that achievement, if not its accompanying stature, with a seriousness that was impressive in and of itself. Justly heralded as one of the first Black designers to head a European luxury goods house (Olivier Rousteing began his successful run in the top job at Balmain back in 2011), Mr. Abloh was prismatic, a designer capable of capturing the varied colors and lights of an evolving culture, refracting and then beaming them out to a waiting world.
He was variously termed kaleidoscopic, a Renaissance man, a protean force in the history of fashion, and yet, looking back on his brief tenure at the apex of the business, what seems clear is that the word that best describes Mr.
Abloh’s death at 41, of a rare cancer, was made public, people struggled to characterize a man whose contributions to the industry extended far beyond any individual design. When you’re ready, buy online and pick up at your local store.Right out of the gate after being hired as artistic director of Louis Vuitton mens’s wear, Virgil Abloh scored a whopping commercial hit with an iridescent plastic tote bag, or “keepall,” he called the Prism.
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