“Don’t Cut Me Off” the collection was called. Designed via group chat, manufactured in Milan and presented in Paris, the collection is the result of Abloh’s worldly view of streetwear, trend observation and noticeable teamwork. His diversely-cast models hit the runway in a variety: there was a suit, styled with trainers, naturally; flannels (similar to the ones he garnered fame and business acumen from—selling screen-printed logo t-shirts and sweaters); leather jackets; hoodies and flyest coats (army camouflage print and burgundy fur-lined hood—I’ll take five).
His trend observation must’ve been influenced by the interview with graphic designer Peter Saville from SHOWstudio (conducted by Lou Stoppard), which intoned a message throughout the collection. His post-punk design aesthetic imbued this collection. Certainly visible on the streets is a post-punk revival, which Abloh cleverly weaved into this collection. Putting a personal spin on things, the looks in this collection had a healthy balance between monochrome and the rainbow-hued looks that trickled out in the latter half of the collection. A businessman or a skateboarder—Abloh is both—could wear these, and that’s one of the most important take aways from this collection. There’s product and there’s the theoretical side of things. The appeal of these clothes to any man, from any walk of life is the theory in this collection. It’s understated cleverness.
To end the show, a flotilla of overcoats in yellow, fuchsia, cornflour blue, pewter and white took the runway—pervading a sense of Abloh’s inclination for the unusual, the unexpected. What a way to end a well-calculated mix of street-ready garb. Don’t cut me off, I must see more from the virtuous Virgil Abloh.
Photo Credit: voguerunway.com