![]() His casting of friends-there were maps, setting out their truly diverse roots in the program notes-celebrated that. Somewhere along the way, these layerings became reminiscent of Helmut Lang’s ’90s canon of design: the casual with the formal, the sense of a calmly empowered gang of friends, a new generation coming into its own. He met the challenge of designing for what is essentially a luxury accessories company by merging bags, wallets, and card holders into hybrid garments-holsters, harnesses, protective zippered vests. ![]() As he faced the biggest test of his credibility today, he deftly set the mood to happiness-that, and a demonstration that, resources unlimited, he can be a bridge between the perceived divide between democratic aspirations and the output at the top of the citadel. In such a divisive, social media–bitchy time, Abloh’s humble-smart, personal-friendly communication skills are of a caliber that can bring people with him. Say what you like about Abloh’s qualifications as a fashion designer-he didn’t go to fashion school, he’s accused of appropriating others’ work, all this sort of thing-the overarching role of any leader in office today (fashion, corporate, or political) is to set a tone, personally. All colors, all nationalities, all identities, and generations welcome here, it said. As the sun shone down on the gardens of the Palais Royal, the significance of his central visual metaphor, the rainbow, also sank in. ![]() The levels of that clever reference-running from Michael Jackson and Lionel Richie’s 1985 charity single in support of Ethiopian famine relief, through the power source of Afro-cultural creativity in music and style, to the activation of the narrative of an international luxury powerhouse brand-were impressive to contemplate, even before the show kicked off. “We are the world.” Trust Virgil Abloh to pinpoint an incredibly apt, multi-resonating, globally inclusive title for his debut at Louis Vuitton menswear. ![]()
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