For all the scaling up that Virgil Abloh has achieved in three short years, Off-White doesn't yet qualify as established. For now, this works in his favor; he can take bigger risks, fine-tune the brand identity, and exist as an outsider-insider. Titled "Mirror Mirror", this collection was represented by an imposing image of Parisian architecture -except this wasn't the actual building, but rather the trompe l'œil scenography that often conceals construction projects around the city. "A brand can be 100 years old; but the outward facade versus what's behind it can be totally different", he explained. So what's behind Off-White ? Essentially, Virgil Abloh's random access theories on representation and authenticity, which speak to a perspective far broader than fashion. And they percolate outward more clearly with his menswear than his women's, either because he relates better or because it's ultimately a stricter realm. The screen-printed concert tee-shirts and sweatpants that form his brand's genetic code have evolved to knitwear with openwork holes and organza sheer enough to look sweat-drenched. The imagery mixed macabre with symbolic : a W-shaped serpent nailed to a cross that opened the show, followed by a ghoulish hand puncturing a trio of Fs as if someone had just yelled the only expletive that requires "off". The scorpions seemed significant; as sequin appliques handcrafted in India and patched onto trousers, they were equally gratuitous and glamorous. The ample, high-waisted pants, along with the long coats, suggested liberal sampling; but then Virgil Abloh's strength as a designer still largely comes from the fact that he is an unapologetic fan. Hence a collection rife with riffs on memorabilia : a knitted portrait of Liam & Noel Gallagher, an appropriated WWII A-2 flight jacket in pliant leather, and soccer scarves heralding his brand. Mr Abloh gave certain guests disposable "cameras" (like all things Off-White, they were packaged and branded in quotation marks) to document the moment from multiple perspectives. These "photographers" were then asked to return the cameras. As a clever mirror-mirror twist, Virgil Abloh conceived his own crowd-sourced souvenir.