When Virgil Abloh was first named the ‘Artistic Director‘ of Louis Vuitton last year, I was ecstatic. To see a black man placed in a position of power of a company like LV meant something. It meant that we are finally being invited to a seat at the table. A table of social acceptance and prestige. But as stories of High-end Fashion Houses using degrading designs for profit started to become normal, I began to wonder. Wonder if this was a genuine progression for us or a strategic setback? Commonly used as a creative mule and a face of diversification for companies that didn’t truly love us, it wouldn’t be the first time.

Added to a short list of black creative directors of European fashion houses, Virgil Abloh joined the likes of Olivier Rousteing of Balmain, and Ozwald Boateng (2003-2007) of Givenchy. Abloh advanced from the title of longtime Creative Director, and friend of Kanye West. Seemingly, from interning for Fendi with West, to creating, and dismantling his haute streetwear Pyrex Vision, Abloh unquestionably demonstrated his knowledge of high-end fashion. Successfully, assembling his Milan-based high-end streetwear line, Off-White in 2013, Abloh soon became a household name. Following separate collaborations with both Nike and Ikea, Abloh soon worked with conceptual artist Jenny Holzer to create a line outlining the positive perspectives of immigration, cultural union, and globalization. But despite the efforts of Abloh, the marginalization of black designers still remain to deter the idea of cultural diversity. Their absence was deafening.

If with great power comes great responsibility, it’s time for fashion’s leadership to stop abusing their positions. – Kibwe Chase-Marshall

An absence that Los Angeles-based designer and writer Kibwe Chase-Marshall would describe in an Op-Ed for Business of Fashion as a “Black people problem”, rather than a diversity problem. Chase-Marshall also expressed the difficulties of Black designers achieving a creative director or vice president of design title. Insisting that black designers are being blacklisted by recruiters and hiring directors, resulting in the lack of durable employment. While fewer opportunities to bridge the gap between luxury fashion houses and black design talent became apparent, the vast industry continues to capitalize on black celebrity relationships.

Credit: ETOnline.com
Kim Kardashian-West, Kanye West and Virgil Abloh at the Louis Vuitton show, June 2018

Blackness had become marketable and with the association of a socio-cultural significance, everyone wanted a piece of it. During the inaugural show with LV, Abloh recruited Rappers Playboi Carti, A$AP Nast, Kid Cudi, and others to walk the show. West and wife Kim Kardashian-West attended the show, along with sister Kylie Jenner and boyfriend Travis Scott. With the relationships that Abloh has built, he brought to LV what they needed most; relevance to the millennial generation. The history of Abloh’s connections to streetwear and his relationships with Kanye West and other prominent rappers and influencers propelled Abloh as the bridge LV needed. The bridge between old conventional fashion and street culture.

Street Culture is what fashion houses despairingly need in order to stay connected to the vast audience that represents the many political and cultural issues of today. Placing him in this position demonstrates that the subculture (Streetwear) is more than an aesthetic look, but a necessity.

“The street is where you get the relevant ideas to real people.” – Virgil Abloh

Michael Burke, Louis Vuitton’s Chairman & CEO, even spoke on the relevancy Abloh has attained over the years. Referring to “his innate creativity and disruptive approach” in both fashions and in popular culture; as a reason to welcoming him to LV. “His sensibility towards luxury and savoir-faire will be instrumental in taking Louis Vuitton’s menswear into the future.” In a recent interview with GQ magazine, Burke addresses how “successful” the brand is with Abloh now on the team. Comparing him to the late creative director of Chanel, Karl Lagerfeld. “Virgil has the greatest energy of any designer I have ever known. He almost reminds me of how Karl [Lagerfeld] used to work.”

CREDIT: Rain Mag
Bernard Arnault, Chairman, and CEO of LVMH, Virgil Abloh, Artistic designer of LV, Michael Burke, Chairman and CEO of LV

However, Abloh’s foreseen success for the company fell short with some fashion critics, particularly Angelo Flaccavento of Business of Fashion. Calling the hire of creative directors based on their social media following as “short-sighted“. Affirming that the success will be short term, and “overlooking design for hype” will be destructive in the end. Of course, ending his critique with an “I could be wrong“, as though his words didn’t already reveal how he felt about the lack of education and experience Abloh possesses. Although Burke speaks of Abloh in high regards, with compliments of his improvement of the menswear line; it still remains true that it took 164 years to get here. It still remains true that while Abloh is the “Artistic Director” of LV, the one that is pushing streetwear forward; Nicolas Ghesquière is the current creative director of Louis Vuitton.

“Virgil is incredibly good at creating bridges between the classic and the zeitgeist of the moment.” – Michael Burke

As Abloh continues to build a cult-like following of social media influencers and rich kids consumers for Louis Vuitton, how many black design talents are continuously overlooked? As Chase-Marshall continues to challenges the Council of Fashion Designers of America to reform an industry that has normalize the exclusion of Black professionals; fashion designers approve of models wearing nooses on runways. Whether Abloh’s inclusion with LV is a step towards black talent being progressively accepted or an attempt to pacify the problem is for debate. During the times of culture vultures, it is hard to tell when these moments are honest or a money-making scheme. But it doesn’t take away the achievements that Abloh has had over the years, working with Ikea, Nike, Japanese artist Takashi Murakami and so many more.

I am still ecstatic over my black men making moves in an industry even if they love our culture, but not us.