By Mariam Karagianni,
From the suburbs of Illinois, Chicago, to the gilded ateliers of Paris, Virgil Abloh was a man of many titles. He operated as a creative director, a fashion designer, a DJ, an architect, an engineer, and an artist, to name a few. Branded as the King of Streetwear, a pioneer in mixing casual street style with elitist couture, and a Collaborator-in-Chief, he was truly a master at fusing fashion with furniture design. To strictly define him under one category would be a disservice to his grand name. An emblem of creative sovereignty, he once famously and rightfully quoted Louis XIV: “L’ état, c’ est moi” (“I am the state“).
“I’m this African kid, born in a suburban white neighborhood outside of Chicago, inspired by Guns ‘n’ Roses and NWA at the same time”, he said when asked about his background. His mother, a seamstress, introduced him to the art of garment making, teaching him that clothes are not bought but created. Abloh later pursued civil engineering at the University of Wisconsin–Madison and earned a master’s degree in architecture at the Illinois Institute of Technology (IIT). It was at IIT that he encountered the work of Rem Koolhaas, the Dutch architect who had collaborated with Prada. This exposure shaped his philosophy that fashion design should be approached as “wearable architecture”, blending structural ingenuity with artistic vision.
It was during this time that Abloh met Kanye West, forming a close friendship that would shape both their careers. In 2009, the duo interned at Fendi in Rome, impressing their employers with fresh perspectives that merged streetwear with elevated fashion. Michael Burke, who, later, became the CEO of Louis Vuitton, took notice of Abloh during this time. Abloh’s collaboration with Kanye extended beyond Fendi; he served as the creative director for West’s agency, Donda, and designed iconic album covers, such as My Beautiful Dark Twisted Fantasy (2010) and Watch the Throne (2011). The latter earned Abloh a Grammy nomination, solidifying his reputation as a creative force. Abloh also played a pivotal role in conceptualizing Kanye’s Yeezy clothing line.
Abloh’s independent journey in fashion began with the launch of Pyrex Vision in 2012. According to Antwaun Sargent, in his article “In Search of Virgil Abloh”, the name “Pyrex” was a nod to the glassware used to cook crack cocaine, symbolizing a convergence between two contrasting cultures: drug addicts and hype beasts. This reference encapsulated Abloh’s philosophy of bridging high-end luxury with street fashion, creating a cultural experiment at the intersection of the ordinary and the extraordinary. While Pyrex Vision was short-lived, it laid the foundation for Off-White, launched in 2013.
“It’s not so much about brands. My ethos isn’t, like, wear Off-White; it’s more like, celebrate everyday clothes”, he wrote in Textbook Demo. Off-White operated in what Abloh called the “grey area” of fashion, a concept inspired by Renaissance painter Caravaggio. Just as Caravaggio’s chiaroscuro technique brought ordinary figures into religious and mythological narratives, Abloh elevated skate and hip-hop-inspired clothing —styles often dismissed as low class— into the realm of high fashion.
Beyond his own label, Abloh’s genius extended into collaborations that redefined industries. His 2017 partnership with NIKE, “The Ten”, deconstructed and reimagined ten iconic sneaker designs, setting a new standard for collaborations between streetwear and sportswear. In 2018, Abloh worked with IKEA on MARKERAD (“marked” in Swedish), a collection that transformed utilitarian objects into pieces of functional art, blending simplicity with innovation. He also collaborated with Mercedes-Benz, Moët & Chandon, and even DJed in Ibiza. But perhaps, his most celebrated achievement was his appointment as the artistic director of Louis Vuitton’s men’s ready-to-wear line, in 2018.
Abloh’s role at Louis Vuitton was a seismic shift in fashion, marking him as the first Black man to hold this prestigious position. This milestone paved the way for others, like Pharrell Williams, in 2023. At Vuitton, Abloh honored the maison’s legacy in craftsmanship while reshaping its relevance for a modern audience. By introducing contemporary graphics, chain-link accents, and bold silhouettes, he expanded the accessibility and global appeal of the brand.
For Abloh, the younger generation was both a muse and a mission. He believed in empowering emerging creatives, often referring to them as his “real collaborators”. His work celebrated youth culture, drawing inspiration from skateboarding, hip-hop, and the digital age. Abloh understood that the younger demographic wasn’t just a market —it was a movement. He invested in their future, establishing scholarships for Black students in creative fields and using his platform to dismantle barriers that he himself had faced. His mentorship and accessibility made him a cultural North Star for many aspiring artists and designers.
Virgil Abloh’s legacy transcends fashion. He was a cultural alchemist who recontextualized existing ideas to spark new conversations, breaking down the notion that luxury fashion was an exclusive domain for the white and wealthy elite. His work wasn’t just about clothes —it was about creating a movement. Though his life was tragically cut short on November 28, 2021, his impact continues to ripple through art, music, and design. Abloh’s vision was —and remains— a testament to the boundless possibilities of creativity.
References
- In Search of Virgil Abloh. QG. Available here
- Virgil Abloh. Textbook Demo. D.A.P. (Distributed Art Publishers). New York. 2019
- Virgil Abloh. Abloh-isms. Taschen. Germany. 2019
