Louis Vuitton Men’s collection
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‘An octology according to Virgil Abloh.’ Collection 8: In the grand scheme of things. Paris, January 2022.
Imagination: the human faculty of forming new ideas not already
present to the senses.
Definition and redefinition are key to understanding the work of
Virgil Abloh at Louis Vuitton. Supported by his seasonal Vocabulary –
“a liberal definition of terms and explanation of ideas” – his
eight-collection arc is founded in the desire to change our ways of
seeing. Using fashion as a tool, his premise lies in decoding the
biases associated with the components of human appearance. He wants to
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present ourselves. One of Virgil Abloh’s most used terms, imagination
is what fuels this dream. It’s what drove him to Louis Vuitton and
what defines his legacy at the Maison.
Executed in eight parts between 2018 and 2022, the work of the Men’s
Artistic Director is never content with simply imagining new clothes
and accessories. He seeks to evolve the human val - ues with which we
imbue our dress codes, and test how they – as social, political and
cultural signifiers – can be used to im - plement change beyond
fashion. Driven by that imagination, the 𝓛𝓸𝓾𝓲𝓼 Dreamhouse™ conceived
by Virgil Abloh for Fall-Winter 2022 (Collection 8) serves to condate
the themes and messages of the arc he created at Louis Vuitton. It’s
an octology that plays out in the tradition of the Hero’s Journey: the
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sensation in the eyes of his spectators.
The coming-of-age story unites the designer with his audience, and allows
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his Boyhood Ideology®, the childlike sensibility observed throughout his
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outlook of a child, who is yet to be affected by the preconceived ideas of
society. He wants to reset our preordained perceptions and start from
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methodology, he frames his shows in childlike whimsy: the 𝓛𝓸𝓾𝓲𝓼
Dreamhouse™ of Collection 8, the bouncy castle and build-your-own-kite kit
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begins.
In his Mini campaign, for Collection 1, he reimagines Gustave Courbet’s
The Painter’s Studio from 1855 in photographic form. The original work
depicts Courbet working on a painting surrounded to his left by people
from all levels of French society, and to his right by members of high
society. Virgil Abloh’s contemporary voyage pictures himself fitting
a look from the collection surrounded by members of his team, social
circle, and models, each clad in the collection. Where Courbet’s painting
interprets ‘real world’ society for the eyes of the cultural elite, Virgil
Abloh portrays the all-encompassing exchange that defines his vision for
Louis Vuitton: diversity, inclusivity, and unity. He revisits the painting
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After The Wizard of Oz, it had to be The Wiz. Inspired by the Oz
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Black Imagination that will underpin Virgil Abloh’s every move at Louis
Vuitton. Black Imagination denotes the rethinking and overturning of
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the present and the future. Merging this premise with his Boyhood
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his Mini Louis Vuitton show.
The puppets look like toys, but they are inspired by the West African
wooden sculptures he grew up with as the son of Ghanaian immigrants.
Throughout Collections 5, 6 and 7, his work begins to express a more
personal nature. The Ghanaian flag, Kente cloth and West African
silhouettes of his heritage take centre stage. He bases his film for
Collection 6 on James Baldwin’s Stranger in the Village, examining the
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devotes Collection 7 to the Amen Break, a little-known drum break of a
B-side created by the funk-soul group The Winstons in 1969, which would be
sampled and go on to underpin the hip-hop and jungle genres, and splinter
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hip-hop culture that nurtured him. He wants to contribute to a Black
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preservation of the history of Black art on par with the way in European
art is studied and taught. To Virgil Abloh, documenting his prolific
output is always about posterity: preserving it so it might inspire future
generations, and open the door he has kept ajar for the opportunities of
others. With this in mind, time is of the essence. His work often deals
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this Earth.
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the middle of the surrealist cloud-adorned show set stands a tree fitted
with a ladder that reaches into Heaven. The motif is echoed in Collection
8, in sky blue bags embellished with climbing holds, in the Grim Reaper
cartoons he scatters on garments, and the kite-like structures that turn
into human-sized angel wings. Like his beloved cityscapes by Giorgio de
Chirico, Virgil Abloh imagines a life where we can slow down the clock,
turn back time, or even make it come to a stop.
To Virgil Abloh, limitations are manmade. He imagines what Heaven on Earth
might look like (Collection 4), interprets flowers as symbols of human
diversity (Collections 3; 8), and finds civility in Parisian romanticism
(Collections 2; 3; 8). He is passionate about surrealism, but his work is
never as passive as escapism. At the core of his ethos is a genuine desire
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fervent pragmatism. When rational solutions don’t seem to make the world a
better place, he gives the opposite a shot.
For Collection 5, Virgil Abloh stages an entrancing, almost psychedelic
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of inspiring compassion in people through hallucinogenic displays of
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Mind™. It is his way of sugar-coating social and political issues in
pleasant layers of what he calls “nuance” – theatrics, amusement, poetry –
and delivering his weightiest messages with a smile. Virgil Abloh sees
that clothes can be used as tools for change, and decides to use every
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“fashion”.
About Louis Vuitton
Since 1854, Louis Vuitton has brought unique designs to the world,
combining innovation with style, always aiming for the finest quality and
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of its founder, Louis Vuitton, who invented a genuine “Art of Travel”
through luggage, bags and accessories which were as creative as they were
elegant and practical. Since then, audacity has shaped the story of Louis
Vuitton. Faithful to its heritage, Louis Vuitton has opened its doors to
architects, artists and designers across the years, all the while
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to Louis Vuitton’s commitment to fine craftsmanship.
For further information:
www.louisvuitton.com