The unit jogged upstage, to where the sixty-three-year-old graffiti artist Futura was adding his mark to a steel shutter. The videographers, who were documenting Abloh “for his archive,” I was told, followed him at an unnerving proximity, but he was unfazed the four moved in concert, like principals in a postmodern ballet. The Louis Vuitton employees, most of them dressed in black T-shirts that Abloh had designed, unanimously agreed. “What do you think of that?” Abloh asked Benjamin Cercio, the Director of Press, Influencers, and Entertainment at Louis Vuitton, pointing toward a pristine sign that read “ RAUL’S BARBERSHOP.” Abloh contemplated the sign. For the set, Abloh had commissioned a cityscape that resembled the Manhattan of Michael Jackson’s “Billie Jean” music video-a downtown with carefully dirtied storefronts, dinged trash cans, and fake sewers that emitted plumes of steam.

He stood in a hangar-like structure that had been painted safran impérial, the official color of Louis Vuitton packaging.

This content can also be viewed on the site it originates from.Īt the Tuileries gardens, in Paris, one recent evening, three cameramen trailed Virgil Abloh, the artistic director of menswear at Louis Vuitton, as he surveyed the runway for his Fall/Winter show.

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