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“All of us who were extremely close with Virgil thought we knew everything, but there’s just a never-ending, eternal, super mind-blowing prolific output,” said Benji B, who collaborated with Abloh on a multitude of projects, most notably the Louis Vuitton runway soundtracks. “Only with the benefit of retrospect can we look at the work together and see that a) it all makes sense and b) it’s all part of the same conversation.”
Beyond the objects themselves, what comes across most compellingly is Abloh’s notes—the codes in plain view. Sketches bring us closer to when things were work-in-progress; video screens of him DJing remind us of his insatiable energy. The exhibition avoids sentimentality, but it stirs a sense of awe, if not also emotion.
Much like the Japanese subculture of otaku—an obsession for possessing various forms of pop culture— Abloh was an ardent collector of design and fashion. Shannon, for instance, was wearing a vintage Chanel black tweed jacket that he had sourced. He was a dedicated archivist and cultural historian who felt a responsibility to collect and document artifacts and moments. Thus, the What Would Virgil Do question was inevitable for the team, which included Athiththan Selvendran, chief creative officer of the Virgil Abloh Foundation and Michael Abel Deng, who worked with Mahfuz on the design. “We’d imagine what his reaction would be,” said Chloe. “But I think, and this was true when we worked with him, he never wanted you to do exactly what he would do… He wanted you to do what you do.”
Running only until October 9th, the show was intentionally conceived to revive the community energy Virgil fostered during Fashion Week, serving as a large-scale reunion for his friends, family, and collaborators. The programming—talks, workshops, performances televised radio—is being billed as Virgil Abloh: World’s Fair. It will yield discursive conversations and discoveries of his personal interests, which included Paris-specific spots such as Ofr bookshop, Castor Fleuriste and Wild & the Moon.
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