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Born in Rockford, Illinois, in 1980, Abloh was a visionary who saw no distinction between art and design. In just 41 years, he assumed a praiseworthy body of work, stemming from his modest upbringings outside of Chicago, where he was versed in disciplines from DJing and skateboarding to Jordans and architecture. ‘Virgil Abloh: Figures of Speech,’ an exhibition on view through January 29 at the Brooklyn Museum, showcases Abloh’s work to the fullest extent — illustrating that he was in a league of his own, in the upper echelons of disciplines from fashion to philanthropy.

As does the show, my journey studying the work of Abloh began in 2012, at the onset of his experimental project, Pyrex Vision. By screen printing The Entombment of Christ on a Champion sweatshirt, Abloh had a subculture of kids — including myself at 12 years old — arguing why Caravaggio was a great Renaissance artist. Ever tethering the tourist to the purist — a continual theme within the show — he created work that was referential for the veteran, yet refreshing for the novice. His vast knowledge uplifted the sensibilities of various niches, and it is seen in the collaborations displayed at the Museum.

Following his initial endeavor with Pyrex, Abloh moved to Off-White, his label that “defines the gray area between black and white.” In Off-White, he forever spoke metaphorically, encapsulating the zeitgeist of street culture — and all of its intricacies — by collaborating with artists such as Futura and Dondi as well as brands like Nike and Braun. In giving equal opportunity to all his inspirations at the highest level, Abloh became a boundless source of inspiration for those who grew up wearing Supreme Box logos and watching Michael Jordan dunk from the free-throw line. It was these inspirations, fused with fashion, design, art and multimedia that, in his own words, allowed him to do everything for the 17-year-old version of himself. This sentiment is emphasized through the video of his first Louis Vuitton show, where his words spoke for a generation: “You can do it too.”

Ultimately as artistic director of Menswear at Louis Vuitton, everything was “Figures of Speech,” paying homage to his inspirations. He transcended the barriers and stereotypes inherent in the world. He was truly the Trojan Horse and we — the students, artists and designers of our era—owe it all to him.

“From my perspective, I’m trying to stand for a generation,” said Abloh. “You know, each generation has designers who go along with it.” LONG LIVE V.

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