who organised martial arts studies as an alternative path for vulnerable young people in the area. “By employing the philosophical values of martial arts as a solution to the problem, [he] impacted a generation of kids with ideas of peace, understanding and empowerment,” read the notes. “A local legend, his work in the community served to neutralise archetypical preconceptions and open a gateway of opportunity previously obscure.
Hopefully, it’s all starting to make sense now. But what about the clothes? Well, there were a lot of them, but perhaps they’re not as important as the overall concept. Instead, they became costumes for characters, symbols of generational divides and a reminder that everything and anything can be spliced together for the sake of fashion.
Since joining Louis Vuitton, Virgil has been experimenting with and hybridising the codes of ultra-luxe tailoring and streetwear. His LV collections always combine elements of both, collaged together in the postmodern bricolage that Virgil has made his calling card. Here, these collaged crowds walking though the space were a pleasure to watch; a reminder that clothes are about tribalism; sartorial ciphers for communities.
There were elders in elegant tailoring and wide-brimmed top hats, their blazers cinched at the waist by robe fastenings. Youngsters in roomy rave-inspired sportswear, jackets made from 90s Metalheadz flyers and psychedelic tie-dye hoodies, day-glo neons, and kaleidoscopic sunglasses. Rave, and specifically jungle, was a key point of reference for Virgil.
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