For all the big statements projected in Virgil Abloh’s first men’s runway show -the orange staging the biggest of all- the most significant was too small for anyone in the audience to notice. Clear buttons had been etched with "button" (quotation marks included), and the oversize brushed metal zipper pulls with "ring". The irony of these self-referential details is that from day one, people have labeled Off-White as streetwear, and that meta branding was conspicuously absent. But with good reason. Two years on, Off-White has proven that Virgil Abloh’s approach to clothing doesn’t fit any taxonomy, even by fashion’s shifting standards. He is as inclined to propose something universally accessible as something oddly proportioned and avant-garde. He’s the type of porous polymath who will hit the art fair circuit to seek conceptual theories instead of taking selfies. John Baldessari is his current idol. But a new obsession with Lucio Fontana, after a visit to Fondazione Prada, was what prompted the American music producer-turned-designer to personally slash the backs of stiff canvas coats in a subtractive color palette of yellow, cyan and magenta. He first described this exercise -done the night before the show- by saying, "this is confidence, to make that gesture, to know it’s going to be better". Of Fontana’s signature "spatialism", Abloh astutely observed, "All of his works have the same value off of just one distilled idea, and that’s the goal -one premise, one execution". Virgil Abloh, in contrast, operates in idea overdrive. In addition to his final Fontana grouping, he once again partnered with Levi’s to improve upon his patchwork denim; spliced up vintage tee-shirts with Shane Gonzales of Midnight Studios; folded in some pre-Fall womenswear looks; developed sneakers with Italian footwear brand Golden Goose; and took a successful stab at slimmer suiting. While Virgil Abloh’s focus could have been tighter, there would be no sense docking points for an overzealous desire to create. Indeed, embroidered bands tacked to coats and windbreakers suggested as much by restating the collection’s title : DON'T CUT ME OFF.