Yesterday we shared the Virgil Abloh posthumous collection show live for Louis Vuitton FW22. Undoubtedly a perfect finishing touch with which the French house bid farewell to one of the creatives who have best managed to interpret what we know today as high street fashion. Now it's time to analyze this collection made up of nothing more and nothing less than 68 looks.
Virgil Abloh's so-called octology therefore ended with “In the Grand Scheme of Things”. A collection with which the creative director appealed to the imagination as that wonderful human faculty with which we form new ideas that are not yet present to the senses. To understand this and the previous installments of the designer, we have no choice but to resort to the term definition and redefinition.
In the “Dreamhouse” conceived by Virgil and his team before he died, the creative went far beyond a simple presentation of new garments and accessories for the upcoming season. It all started with a fashion film that tells the story of a young man who grows up in a world where his imagination takes shape in real life.
Later, in a large room where the models began to walk a catwalk in which the floor seemed to be water that almost completely covered a house, leaving only the roof visible, and they came out of a door placed in a surreal architectural structure of disconnected walls and stairs that lead nowhere.
The performance continued by the models, who performed a choreography at the same time that they invaded the room. The soundtrack was provided by a large orchestra of violinists playing around a large banquet table.
The looks of the new Louis Vuitton FW22 collection take a journey taking references from all Virgil Abloh's collections with the germ of his recurring Boyhood Ideology, which is nothing more than the intact perspective of a child who has not yet been seen affected by the preconceived ideas of society.
Symbolically present are the bouncy castle and build-your-own-kite kit from Collection 3, the rainbow walkway from Collection 1 where it all begins as Virgil Abloh's version of the Yellow Brick Road central to the story of The Wizard of Oz. This is represented in the collection by including characters in some garments from the new collection.
Reimagines Gustave Courbet's 1855 painter's studio in photographic form as in his collection 1. Virgil Abloh imagines himself donning a look from the collection surrounded by members of his team, social circle and models, each one dressed in the looks of Louis Vuitton FW22. He also includes pictorial motifs, tapestries and engravings in some looks, while maintaining the street aesthetic that so characterizes the original from Rockford (Illinois).
He goes on to create a colorful keepsake puppet team for Collection 5, which is based on his friends' memories of arriving in Paris for their first show. The puppets are inspired by the West African wooden sculptures he grew up with as the son of Ghanaian immigrants. The Ghanaian flag, Kente cloth and West African silhouettes of their heritage are also present.
Representing collection 4 is the clock that goes back in time and a tree equipped with a ladder that reaches to heaven. The clouds, in this case, are sky-blue bags adorned with climbing holds. The parade closed with a reinterpretation of the Grim Reaper cartoons, in which the kites that become imposing human-sized angel wings.