Virgil Abloh has left a lasting legacy – in streetwear, luxury, culture and the fashion industry as a whole. Nowhere was this refined, lasting legacy more evident than yesterday in Paris, where Louis Vuitton showed its AW22 show. Titled Louis Dreamhouse, the presentation was an all-encompassing affair which explored themes of mortality, community, and aptly – dreaming.
These themes were partially delivered through the set, which consisted of a trampoline-staircase, a bed, clock (striking exactly 8) and an oversized roof and chimney, all in pale blue and red. This, accompanied by dancers, an orchestra performing a Tyler, the Creator-produced score and the sheer magnitude of familiar faces on the runway and in the audience, made the show particularly emotional: it was as if the world was given one last glimpse into Virgil’s extraordinary mind.
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And ultimately, these themes and emotions were portrayed through the collection itself. The eighth Louis Vuitton collection under Abloh played with ideas surrounding life, death and legacy. It was made especially poignant when considering the artist’s thought process behind the designs, now tragically delivered posthumously.
The collection delivered looks in a series of key tones: blues, purples, greens, browns black and cream, drawing the multitude of designs together under a cohesive and considered colour trajectory. From royal purple satin suits to an immaculately tailored all-black ensemble, Abloh’s command of the tailoring and craftsmanship skills required in a luxury fashion house shone through. Equally though, his impressive and accoladed place in streetwear filtered through to this collection too, in the form of bombers, varsity jackets, various high-end tracksuit creations and somewhat surprisingly, the return of the sideways snapback.
Speaking of accessories, Louis Vuitton’s AW22 collection was rife with well-executed ones: a distorted classic monogram briefcase recalled the subversion of Cartier’s Crash watch in its Uncanny, dreamlike aesthetic, whilst bucket-bags made to look like paint cans were seen clutched in the hands of models. Balaclavas appeared amongst hats which sported pointed ears, and other looks were completed with a clutching of bouquets. LV gave us a selection of puffer duffle bags too, as well as one in electric pink and black checkerboard.
The collection seemed to showcase all elements of Virgil’s design and creative capabilities in one: reminding the audience and fashion world at large of his colossal talent and unparalleled influence as creative director. To pick a few standouts is a tough task, but the tiered tulle skirt under a leather varsity jacket alongside a denim monogram two-piece turned heads when they made their way down the Dreamhouse catwalk.
Elsewhere, tie-dye and graphic prints adorned hoodies, outerwear and trousers, and the last looks featured a set of huge, toile lace wings – both desperately emotive and self-explanatory in their implication.
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See also: REMEMBERING VIRGIL ABLOH: A VISIONARY DESIGNER AND CULTURE PIONEER
See also: KING OF COLLABORATIONS: HOW MARC JACOBS OPENED LOUIS VUITTON UP TO THE STREETS
