In this enchanted wood on the Miami shore, much like the rainbow path of his debut show for Vuitton, anything could theoretically thrive. Everything wholeheartedly subscribed to Abloh's vaunted and valuable doctrine of making clothes that make one excited.īecause, while Abloh treated his work with the utmost respect, he always approached it with a childlike irreverence. There's no shade of grey here, and, like the varied carousel on display, it works. Tailored pieces played host to dreamy mountain vistas, and ombre leathers, just big enough to fit an iPhone and a Juul (or, conversely, big enough to fit an entire RCF speaker), melted from primary colours to briefcase neutrals. Moreover, there was a frenzied hype to Vuitton's heritage.
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But rather than a cacophony, the result was a sold out concert packed full of headline acts. Under Abloh's steer, Vuitton never shouted louder, and the kids (and the rest of us) never wanted it harder.
This wasn't muted, pared back clothing for wealth that whispers this was a statement, grailwear, design that highlighted the aspirational part of luxury fashion in the brightest, lightest ink. Abloh, forever looking at fashion and culture through a childlike kaleidoscope, was one of the first of his cohort to flip the notions of old, Euro-centric luxury on its head. Subjectivities aside, that makes this stuff unarguably exciting. It's hard to put a lid on this sort of collection, or tie a bow around it that is a refreshingly Ablohian signature. A frenetic palette ran the gamut of blood red, acid green, white, pitch black, blue, grey, hot pink and brick brown. Chalet girl earmuffs were cartoonish, as were the bear trappers on steroids. Translucent track jackets, generously edged with the house monogram, sat atop coordinating sweats. The clothes were testament to this sense of stolen promise. 'Gone too soon' feels like a well-worn cliche, though when applied to Abloh's relatively brief but remarkable tenure at one of the world's oldest fashion houses – indeed, when applied to this very collection – it's hard not to wonder what could have, and should have, come after this Miami presentation. It also felt prematurely final, as Abloh, the 41-year-old trailblazer, would not be appearing at the runway's mouth upon the show's end. For while this fashion show didn't quite have the tenor of a funeral (and rightly so), it certainly felt like a farewell. Where the front row so often whisper and selfie, the sibilance was on pause, churchly hands clasped together on laps, far fewer smartphones than normal suspended in the air. Just this week, the maison announced the passing of its revered and respected men's creative director Virgil Abloh after a private battle with cancer. Not so at Louis Vuitton's Miami presentation this evening. Fashion shows, usually, begin with a quiet hum of excitement, of anticipation.
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