If this sounds naive, that’s giving the wrong impression. The LV flower symbol was hand-crocheted in multicolored wool all up the sleeves of a denim jacket.
The zig-zaggy pinked hems of shirts and jackets winked towards kids’ craft kits. A coat was decorated with the contents of a toolbox, scissors and all. Folded ‘paper’ hats were reproduced in luxurious white leather. Paper planes landed all over a black suit as a kind of 3-D embroidery. Amidst a humongous set built to mimic a magnified kid’s train set, and surrounded by huge inflatable balls, they tenderly utilized the childhood codes Abloh played with. The team that had worked with him at LV learned from all those “everything is possible” lessons and ran with them. Rather, it was a collective collection, designed by the people who worked all the long hours with him, cementing the profound and irrevocable social change that Abloh succeeded in normalizing at the very top of the fashion establishment. It wasn’t at all mournful or-worse-forcedly upbeat. If this was Louis Vuitton’s final celebration of Abloh and his legacy- the first collection and show to have been seen through wholly without him-then the brand’s powers that be, and all the people who worked for Abloh, did a spectacular all-round job. And Kendrick Lamar in his crown of thorns, sending his lyrical incantation to the absent-presence of Virgil Abloh from his seat beside a conceptual Yellow Brick Road runway which swooped around a courtyard of the Louvre: “Virgil, how many miles away?” A procession of athletic French LV flag wavers. The marching band of Florida A&M University, out of Tallahassee. This slideshow includes 11 images from a second showing of this collection in Aranya, China on September 16, 2022.
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