Virgil Abloh just sold 60% of his streetwear brand Off-White to lux giant LVMH, where he serves as artistic director.
Incredibly, the Ghanaian-American has no formal fashion training (background = architect, DJ).
Here are 10 insights from a multi-disciplinary life.
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Background: Virgil Abloh was born in 1980 in Rockport, Illinois to Ghanaian immigrants.
His father (Nee) worked for a paint company. His mother (Eunice) was a seamstress, who taught him how to sew.
In his teens, Virgil -- an avid skateboarder, graffiti artist -- designed tees.
After high school, Abloh's parents wanted him to learn a practical career, so he enrolled in Civil Engineering at U. of Wisconsin-Madison.
He didn't want to be an engineer in the "classic sense". He kept making custom tees and DJ-ing (his dad passed down an interest in music).
In 2003, Abloh went to the Illinois Institute of Technology to get a Masters in Architecture.
One architect particularly inspired him: Rem Koolhaas, who designed buildings and also worked with the fashion giant Prada.
As Abloh wrapped up his Architecture degree, he met a rising star from Chicago: Kanye West.
West made a name for himself as a producer (e.g., Jay-Z's "Blueprint") but was cutting out on his own and surrounded himself with creatives.
Abloh's custom tees caught West's eyes.
Over the next decade, Abloh worked as West's "artistic fixer" on everything from his music to video to fashion.
The photo below came out of the 2009 Paris Fashion Week (Abloh far right). It was ridiculed at the time, but the pair was very serious about taking on the industry.
Shortly after, West and Abloh interned in Rome at LVMH-owned brand, Fendi.
They were paid $500 / month and did standard intern duties (getting coffees, photocopying docs) working 9-5.
Insanely, this was during the making of West's "My Beautiful Dark Twisted Fantasy" album.
In 2012, Abloh launched his first fashion brand: Pyrex Vision.
Ever the multi-disciplinarian, the clothes was originally meant for a 10-min short film.
The name refers to the 2 ways for people to get out of the hood: pyrex (for cooking crack) or 23 (good at bball like Jordan).
Pyrex didn't take off, but Abloh met the team behind New Guard Group, an Italian lux brand.
They joined forces, combining New Guard's manufacturing with Abloh's creativity.
Off-White was born (Abloh owned the trademark, while New Guard owned an exclusive multi-year license).
In the decade since, Off-White has dominated luxury. It's regularly ranked "most popular" luxury brand in the world and has collabed w/ huge brands: Nike, Ikea, Rimowa, Kith, Moet.
In 2018, LVMH tapped Abloh as artistic director for menswear.
What's behind the success?
Abloh has been very transparent about his process.
He posts in-progress work to his 6m IG followers. And, in 2017, did lectures at Rhode Island, Columbia and Harvard.
Here are 10 key insights (Abloh calls them "cheat codes" that young people can use for their own career).
Insight #1: "Readymade" (Build on what already exists)
Abloh cautions against the instinct to create stuff from scratch. Build on the aesthetic of a mentor (dead or alive). Odd are, these mentors did the same.
The artist that influenced this view is Marcel Duchamp, who is known for his "readymade" artwork ("ordinary manufactured objects that is modified").
Duchamp's most famous work is the most ordinary of objects: a repurposed urinal ("Duchamp's Fountain").
Readymade work has the huge benefit of being recognizable. It's easier to capture mindshare, when building on existing ideas (like a DJ who "remixes" a hit song).
The Off-White logo is a perfect example: Abloh grounds the visual of his brand in a ubiquitous shape ("arrows").
Abloh builds on existing work by making a 3% change to the original form, thus fulfilling both desires.
His best example is the updating of popular Nike shoes.
Insight #3: The power of humor
Abloh says humor is "an entry point of humanity". You open up when you laugh.
On the internet, "ironic humor" and memes are the go-to language.
Along these lines: Abloh made a "keep off" rug for Ikea and a transparent luggage for Rimowa.
Insight #4: Don't be a perfectionist
Abloh will often complete only 70% of a project before moving on. By not making everything "perfect", he can experiment and keep learning by working.
Insight #5: Sharing your work
As part of not chasing perfection, Abloh regularly shows his work-in-progress on Instagram.
It demystifies the process and is a way to inspire others.
Insight #6: Build a foundational skillset
Abloh's work is grounded in his engineer/architect background:
◻️Analyze problems
◻️Design solutions
◻️Implement ideas
◻️Defend the logic.
The process gives him confidence and conviction in any project he takes on.
Insight #7: A WhatsApp-powered workflow
Abloh says his primary tool is a "fully-charged iPhone" and his work style is "conversational".
He manages his different projects via WhatsApp chats, which are real-time and don't impede the creative process (like email might).
Insight #8: Collaboration is key (with any age)
Abloh's interest in many fields means he's always looking to collaborate and cross-polinate.
He'll keep company with 76-year old Rem Koolhass as well as teenagers he meets on IG (he's even hired a few just from DMs).
Insight #9: The importance of the immigrant perspective
Abloh's comfort with many disciplines is partly born from his upbringing. If his father Nee had accepted the "box" he was born in, he never would have come to America.
For the same reason, Abloh won't be put in a box.
Insight #10: Create a "Personal Design Language"
Abloh says that each artist has a throughline across all their work.
The way he is able to build a throughline is through a "Personal Design Language" that keeps his work internally consistent.
Here is his (via Harvard lecture):
After selling 60% of Off-White to LVMH, Abloh's design language will now permeate across the $350B+ luxury giant.
It won't be only fashion. He'll take on LVMH's spirits and hospitality arms, getting equity in anything he incubates.
"I'm getting a seat at the table", says Abloh.
If you enjoyed that, def FOLLOW @TrungTPhan for other threads that will make your smarter, sprinkled in with memes that will make you dumber.
This timelapse of Alex Honnold’s 1 hour 35 minute free solo climb of Taipei 101 is unreal.
He said the main challenge was “not getting complacent up the bamboo boxes, because it’s 64 of the same sequence over and over.”
His music playlist (mostly Tool) helped because each bamboo box took about the length of a song and he could keep pace.
Honnold wants to climb other mega skyscrapers if allowed.
Thinks Taipei 101 was the ideal challenge, though: “This one is so perfect for climbing. There are some buildings that are almost too easy for climbing. Like, ones that have a window washing track on the outside, where you’re just hand over handing on some track the whole way. You can climb it, but it’s not a challenge. The thing about Taipei 101 is it’s perfectly in the sweet spot for me, where it’s possible, and it’s not too insanely hard.”
“The dragons, they’re also probably the scariest thing to actually do. I mean, they’re really fun, they’re really cool. It’s an incredible sequence, cool position. But every time I set up on the dragon, I’d be like, “this is kind of crazy.” You’re like, out over the abyss. It’s cool.”
Matt Damon and Ben Affleck on Rogan taking about how Netflix has changed filmmaking.
A major considerations is dealing with distracted viewers. To keep them tuned in, “you re-iterate the plot 3-4x in the dialogue because people are on their phones.”
Then, in action films, you change the ordering of climatic fights.
In traditional action films, you’d have “three set pieces” in every act (I, II, III) and each would “ramp up” (spend the big money on third set piece).
But streaming has to hook viewers within 5 minute, so the incentive is to put a major battle or action sequence much earlier.
Also, the directors have less incentive to make a film look great because so many people watch on laptops and phones.
They do say that streaming allows for more bets on risky projects since the theatre economics are geared towards IP, sequels and super-heroes.
Example: an independent film with a $25m budget would spend $25m on marketing (1:1 ratio). But since it splits box office with the theatre, the film needs to make $100m (1/2 of which is $50m) just to break even.
They’re realistic about the state of film and call it a supply-demand issue. If the demand is for at-home viewing (eg. Netflix 300m+ subs), then filmmaking approach will change to feed the algo.
When there’s demand for theatre, Damon will go team up with Christopher Nolan to make “The Odyssey”.
A similar dynamic is happening to streaming TV shows. The incentives for story arc, dialogue and character types warped thr medium.
The Economist has a great piece on strategy sportsbetting apps use to throttle smart bettors:
▫️Skilled players are “sharps” and given “stake restrictions” if they play too well (bets are capped).
▫️Rest of players called “Square”.
▫️In 2025, 4.3% of active UK accounts had a “stake factor” below the maximum bet allowance of 100%.
▫️Sportsbook will take bets with a profit margin as low as 4.5%.
▫️If they are able to do good “player-profiling” and keep the “sharps” from playing, the profit margin can reach 10-20%.
▫️As important as keeping out “sharps” is hooking “whales”, the deep-pocketed players that are willing to keep playing (and losing) large sums.
▫️Some “whales” are actually “sharps” in disguise, though. They’ll lose a bunch of bets to lull the sportsbook then put down a massive bet when they have an edge.
▫️While there is a risk of a “whale” being a “sharp”, the value of a real “whale” is so high that sportsbook will take the risk
▫️“In March 2024 PointsBet, raised its share of online sports-gambling revenue in New Jersey from 11% to 24% after wooing a single cash-spouting customer away from DraftKings.” (I can confirm that this wasn’t me).
▫️How sportsbook profile players:
> Playing on Mobile is a good sign (where majority of people play)
> Playing on PCs is a bad sign (it’s easier to compare odds and run models)
> E-wallets are a red flag (sportsbooks prefer debit direct deposit that can attach a player to a single account; e-wallet is more anonymized and players can move cash between sportsbook more quickly to shop for the best odds)
> Women bettors are a red flag (most bettors are men and “sharps” often use women to place bets)
▫️First wagers are a major tells (typical bettors go after top leagues — NFL, NBA, EPL — and do so near the start of the game).
▫️Popular bets for “squares”: who will win, scoring margins and how star player will perform (also, they love multi-leg parlays).
▫️“Sharps” go after less popular leagues and place bets as soon as odds are published, when they are most mispriced. They also go after less popular bets such as “pts in Q3” or stats from a random player (“Sharps” rarely do parlays and don’t withdrawal winnings often).
▫️One gambling consultant tells The Economist that “By the time a customer places his first bet, [sportsbooks] are 80-90% certain they know the lifetime value of the account.”
▫️”Sportsbooks look at a player’s ‘closing-line value’ — a measure that compares the odds at which he bets with those available right before a match begins. If it is consistently ahead of the market over his first ten wagers, he is highly likely to beat the book in the long run.”
▫️Sportsbook mathematically monitor players and creates a new risk score every 6-8 hours (risk score = estimate of probability that customers will wind up unprofitable).
▫️E-wallet users, women and bets over $100 are flagged. These suspicious bettors are given 30% of maximum bet (and proven sharps only allowed 1%).
▫️High-skilled players will often get a “beard” to bet on their behalf. Most sportsbooks ban this practice but it is widespread.
▫️Safest “beards” are close friends and relatives because you can mostly rely on them to pay out any winnings. The “beards” try to look like degens (playing at 3am, bet non-stop and doing ridiculous parlays) before placing a winning bet.
▫️The most effective strategy for “sharps” is “whale-flipping”. Find a losing gambler, then ask to put a (likely) large winning bet amongst their pool of guaranteed losers.
▫️Once “sharps” max out the people they can use as “beards”, they tap professional networks called “movers”. These “movers” employ a bunch of “mules” who can put down bets on the behalf of the network. Low-end movers charge 10-20% while high-end movers charge 50% of winnings.
On a related note, I wrote on how slot machines make $10B+ a year in Las Vegas (~70% of all casino gaming revenue).
The history, psychology and design of the device…which went from a throwaway game to the industry’s “cash cow” and “gambling’s crack cocaine.”readtrung.com/p/the-ludicrou…
Satya Nadella on why Microsoft Excel has been so durable after 40 years:
> the power of lists and tables
> the malleability of the software (“a blinking canvas”)
> spreadsheet software is Turing complete (“I can make it do everything”)
> it’s the world’s most approachable programming environment (“you get into it without even thinking your programming”)
The invention of bánh mì is a combination of climate, trade and urban layout of Saigon in late-19th century designed by French colonist.
When the French captured the area in 1859, most economic activity in the region took place along the Saigon river.
The population built makeshift homes tightly bundled by the river banks. Outgrowth from this eventually lead to narrow alleyways between many buildings that is trademark of the city (the Khmer named the region Prey Nokor then French renamed it Saigon and then it was renamed to Ho Chi Minh City in 1976 after end of Vietnam War).
Over decades, the French created European street grids and built wide Paris-type boulevards in the city to funnel commerce to larger markets (also make the city easier to administer).
It was at these markets that French baguettes were introduced and traded.
Bánh mì bread is known for being flaky and crispy on the outside while fluffier on inside (so god damn good).
Two features of Saigon helped create this texture:
▫️Climate: The heat and humidity in Southeast Asia leads dough to ferment faster, which creates air pockets in bread (light and fluffy).
▫️Ingredient: Wide availability of rice meant locals added rice flour to wheat flour imports (which were quite expensive). Rice flour is more resistant to moisture and creates a drier, crispier crust.
Fast forward to the 1930s: the French-designed street layout is largely complete. Now, the city centre has wide boulevards intersected by countless narrow alleyways.
The design was ideal for street vendor carts. These businesses were inspired by shophosue of colonial architecture to sell all types of goods as chaotic traffic rushed by.
Vietnam has some of the most slapping rice and soup dishes, but many people on the move in the mornings wanted something more portable and edible by hand.
Bánh mì was traditionally upper class fare but it met the need for on-the-go food.
Just fill the bread with some Vietnamese ingredients (braised pork, pickled vegetable, Vietnamese coriander, chilies) along with French goodies (pate).
Pair it with cà phê sữa đá (aka coffee with condensed milk aka caffeinated crack) and you’re laughing.
Haven’t lived in Saigon for 10+ years but ate a banh mi every other day when I did.
While there, I also sold a comedy script to Fox (pitch: “The Fugitive meets Harold & Kumar set in Southeast Asia”).