Virgil Abloh brought us something in his Spring/Summer Menswear collection for Louis Vuitton that feels perhaps more desirable now than ever: a bouquet of fresh spring flowers, the purity associated with childhood, and new beginnings.
Naturally, in communicating spring on the runway, pastels were among the first colors to meet the eye - and they remained prevalent throughout the show - while Alboh also brought us the likes of sun hats, garden gloves, and trench coats. As the show continued, florals grew more prevalent in a variety of formats and brighter colors were introduced. In this bold shift, a collection that started as a springtime take on a refined aesthetic, began bursting with creative detail and unique structural choices added mainly through outerwear and accessories.
The graceful fluidity of the collection's breezy garments echoed the fluidity of gender in what might be considered traditionally “feminine” colors and florals. Then, of course, this gentle structure is counterbalanced by geometry. First, we might unpack (pun intended) Abloh’s use of the triangle bag; highlighting the leather goods in this show seems to be the new creative director’s way of honoring the great history of the Louis Vuitton house. Many of them have a vintage trunk-like feel with a fresh, modern spin. Moreover, in addition to its geometrical structure that physically offsets the loose garments, the triangle is traditionally known to represent strength. In this way, perhaps Abloh’s leather goods bring an element of strength to the youthful sense of optimism at play throughout the collection.
Kites (and kite-like inspirations) were another way that Abloh geniously incorporated physical structure while honoring a childish sense of play. They were featured in coats and backpacks that looked like a nod to the designer’s streetwear roots, which wass also seen in his incorporation of drawstrings and straps, or in a more traditional sense, through hoodies and sneakers. In these ways, Abloh’s work at Louis Vuitton continues to act as a bridge between high fashion and the street, which is achieved through the elegant presentation of artistry, craftsmanship, and approachable silhouetees that have defined his tenure thus far at Louis Vuitton.

References
- 1
- 2
Portrait of Salvador Dalí
1979

Christo
Wrapped Jerry Can, 1961

Dennis Oppenheim
Impersonation Station, 1988

Jim Hodges
With the Wind, 1997

Craig Green
Fall/Winter 2012

Paolo Lomazzi, Donato D'Urbino, Jonathan De Pas
Blow Inflatable Armchair, 1972

Dan Colen
Infinite Jest, 2012

Vanity Fair
Four of The New York Five (left to right, Michael Graves, Charles Gwathmey, Richard Meier, Peter Eisenman), 1996

Christopher Kane
Spring/Summer 2012

Craig Green
Spring/Summer 2015
Dan Colen
Everybody's Gonna Die, 2014

Frank Gehry
Vitra Design Museum, 1989

Jeff Koon
Puppy, 1992

Yves Saint Laurent
Spring/Summer 2008

Louis Eisner
Danish Standard VI (I), 2014

Michael Webb
Cushicle, 1967

Paul McCarthy
White Snow, Balloon Dog, 2013

Richard Diebenkorn
Ocean Park #24, 1969

References

Portrait of Salvador Dalí
1979
1 of 18

Christo
Wrapped Jerry Can, 1961
2 of 18

Dennis Oppenheim
Impersonation Station, 1988
3 of 18

Jim Hodges
With the Wind, 1997
4 of 18

Craig Green
Fall/Winter 2012
5 of 18

Paolo Lomazzi, Donato D'Urbino, Jonathan De Pas
Blow Inflatable Armchair, 1972
6 of 18

Dan Colen
Infinite Jest, 2012
7 of 18

Vanity Fair
Four of The New York Five (left to right, Michael Graves, Charles Gwathmey, Richard Meier, Peter Eisenman), 1996
8 of 18

Christopher Kane
Spring/Summer 2012
9 of 18
Craig Green
Spring/Summer 2015
10 of 18

Dan Colen
Everybody's Gonna Die, 2014
11 of 18

Frank Gehry
Vitra Design Museum, 1989
12 of 18

Jeff Koon
Puppy, 1992
13 of 18

Yves Saint Laurent
Spring/Summer 2008
14 of 18

Louis Eisner
Danish Standard VI (I), 2014
15 of 18

Michael Webb
Cushicle, 1967
16 of 18

Paul McCarthy
White Snow, Balloon Dog, 2013
17 of 18
