Louis Vuitton Fall/Winter 2020
by Chidozie Obasi
























































Let’s state the facts clear: for a guy as collab-conscious as Virgil Abloh, the French Maison of Louis Vuitton has witnessed copious partnerships during his tenure of menswear Creative Director. The levels of clever sartorial reference brought in the clothing utilizing the power of Afro-cult creativity both in music and style, lights-up a narrative of an international modern-luxe powerhouse. It may well have left many in the daunt, but his tenacious consciousness stemmed the fright ever swiftly. His significance, which sank in quite straight-forwardly, was welcomed by the avant-garde ticket format, which makes it all even more clever. The street-meets-chic injection and hype adoption felt nerve-wracking in some ways. As the land of urban wear is characterized by a ruthless quest of change, Abloh has faced the challenge of symbolizing the dichotomy that stands by just making clothes “to wear” and making them introspect into an evolution. And by all means, we’re open to remark whatever about his quality of aesthetics, or perhaps on his technical appropriation (as he didn’t attend fashion school). The much-personal symbolism exemplified in his work, identity and aura could be seen transferred into the opening looks: the ambiance felt like being almost born again, with a cleansed soul a purified spirit. But though the hip emperor didn’t gain elite qualifications in design, he knew the ultimate formulas: commercially aware, all eyes zoomed in the nifty tailoring details, with a chromatic stance that sparked the brightest neon and the duskiest ash palette. The production was invigorating, setting the scene for a new season and a new legacy to be left behind. In the end, the thread was expressive, resolute, and yielding.
And as the designer faced the wildest twists in liability, he’s proven his competence and accountability which profitably placed him on top of the urbane ladder. It reassured, and most importantly, asserted. Surely analogous to the modernist la-la-land of streetwear, but it was good per se.
BLUR 1.0 “Another Me”
Givenchy Fall/Winter 2020
Daniel Solano captured by the lens of Arthur Coelho and styled by Dana Fracalossi, in exclusive for Fucking Young! Online.
For his second couture show closing Haute Couture Week, Kevin Germanier chose to have fun.
Glass Cypress’s Spring/Summer 2026 collection, The Ones Who Flee, is a meditation on movement, not just physical escape, but the deeper act of resisting what binds us.
For Oakley, it’s been five decades of innovation, turning science into design, and refusing to blend in.
Alan Crocetti’s latest collection, Hard Core Fantasy, is a deeply personal exploration of identity, desire, and self-protection through jewelry.
Francisco Terra’s 15th-anniversary collection for Maldito is a midnight ride through memory, a fever dream of teenage longing stitched into lace and rhinestones.
LARUICCI’s Spring/Summer 2026 collection bottles the chaotic charm of early 2000s Hollywood.
PRISMA’s latest collection isn’t about hiding but about what happens when you stop trying to.
HEREU is marking its 10th anniversary with Memory. A Play of Twos, a photobook that captures a decade of creative exchange.
In a time of movement and uncertainty, Estelita Mendonça’s Spring/Summer 2026 collection questions what clothing means when stability feels like a luxury.
We talked with Ziggy Chen to learn more about the thinking behind PRITRIKE, his process and his relationship with materials.
Take a look at C.R.E.O.L.E’s Spring/Summer 2026 backstage, captured by the lens of Spencer Stovell during Paris Fashion Week, in exclusive for Fucking Young!
Glenn Martens’ Maison Margiela Artisanal collection doesn’t just borrow from history, but it fractures it, reassembles it, and wears it like a second skin.
This weekend, Eastpak reminded us that backpacks aren’t just carriers of belongings – they’re carriers of stories, creativity, and identity
For Spring/Summer 2026, A. A. Spectrum finds inspiration in quiet moments, the natural ease of creativity, and the unforced beauty of renewal.
For Spring/Summer 2026, AV Vattev’s Bohème collection takes its cues from two iconic worlds: the effortless cool of French New Wave cinema and the raw energy of British music subcultures.
Concrete Husband talks about turning psychological collapse into industrial soundscapes, confronting darkness on Berghain’s dancefloor, and why dark techno is, above all, sexy.
Maciej Poplonyk photographed by Arthur Iskandarov and styled by Egor Telenchenko, in exclusive for Fucking Young! Online.
Titled “YOU DO NOT BELONG HERE,” the visuals strip away ambiguity, trading fantasy for sharp, cinematic storytelling.
We met Yoon Ambush – Co-founder and Creative Director of AMBUSH – in Paris during Men’s Fashion Week.
Les Benjamins has turned its attention to the tennis court with a new collection that mixes sport and style.
GUESS JEANS has officially arrived in Tokyo, opening its first Asian flagship store in the heart of the city’s fashion district.
WHOLE is a pilgrimage for the global queer community, a temporary world where joy, radical acceptance, and self-expression reign supreme.
Alexis Otero captured by the lens of Lucas Lei, in exclusive for Fucking Young! Online.
Levi’s® is celebrating Oasis’ long-awaited reunion with a new collection that combines the band’s iconic style with classic denim.
There’s no bitterness in the heartbreak here, just the sense that longing isn’t defeat, but proof you’re alive.
We had the chance to catch up with Ohio-born, Brooklyn-based designer Kody Phillips in his Paris Fashion Week showroom where he unveiled his Spring/Summer 2026 collection.
Dean and Dan doubled down on their love of fashion’s most dramatic moments, remixing 80s power dressing, 90s grunge, and 2000s excess into something entirely their own.
Gerrit Jacob’s latest collection, GAME OVER, isn’t about surviving the wild but about surviving the grind.
Telekom Electronic Beats (TEB) and 032c are turning 25, and they’re celebrating with a capsule collection and an installation by Harry Nuriev. Titled All is Sound.