“Virgil Abloh taught me optimism and dedication in design”

Samuel Ross, artist, designer, and founder of the fashion brand A Cold-Wall is a creator whose length in artistic expression is wide. Master of minimalism, dedicated to social and inclusive design, an intellectual trained in art from the youngest age, the polymorphic works of this English designer born in Brixton find their roots in years of training and work as first assistant alongside Virgil Abloh, now departed. Since 2012, he has been working on several creative plans with him, from his first brand Pyrex Vision to the creation of Off-White. From this legacy will remain the will to create with optimism and engagement. His ultra-cerebral thoughts applied fluidly on his creation supports as graphic design, illustration, fashion, streetwear, scenery, are many expressions he has had the opportunity to polish with Virgil Abloh. Today, his design vision is generous. He continues to work for his brand A Cold-Wall, just as he does his collaborations with Nike, Apple, Diesel, Converse or even Hublot. It is in Miami, during an exceptional meeting organized by the watch brand in parallel to Art Basel Miami that Luxury Tribune was able to meet Samuel Ross and the end of last year. Hublot Ambassador since 2020, his career is paved with prizes, including several British Fashion Awards, the Hublot Design Prize or even the International Woolmark Prize. Doctor of Letters, Samuel Ross is one of the most promising designers of his generation, at only 32.

You were lucky to work with Virgil Abloh as first assistant for years. What learnings have you taken away?

I learned optimism with Virgil, as well as grace, a way to engage with one’s creative community, the capacity to associate two worlds in one dialogue, as can be done with design and fashion. And to integrate it at the center of our lives. I worked for Virgil Abloh for many years, he was my director, then my mentor, then a brother and a friend. He constantly talked about optimism, grace, intelligence, with a societal perspective on the way in which design can be used as an instrument for change, and on the way that luxury can truly play a role as a symbol of aspiration and great virtue.

During your career, you collaborated with many brands. What are the ones that enabled you to advance your approach, and challenge your principles?

There are some that standout. With Hublot, I noticed respect of preciseness all along the creative process of a watch, with a very right working efficiency which can be found in the product, in engineering. Audacity is at the heart of the thought process. But it is also that which defines watchmaking, this disruptive spirit and this innovation in materials, colors, microscopic measuring scales. I also think about Nike and Apple. To me these three collaborations have gone beyond the product, to touch upon culture.

What do you dream about as a designer?

To celebrate optimism in design, and at the same time to think about the meaning of an object by approaching it from a critical perspective. In a way, it must question the political and social.  

How does this translate in practice?

One must choose a sector in which to commit completely. To me, it is about conceiving clothes, furniture, urban design, and art. It is limitless. If I can change things, in the infinitely small world, a watch, and in the infinitely great, urban architecture, I will have reached my objectives.

You are an artist as well. How do your works manage to evolve societal challenges, drive change?

I think there are two ways of using art. The first is cathartic. When I draw sketches or that I discover new materials with which I can create, then starts a dialogue between how I feel, sometimes unconsciously, and that which can organically be found around me. This can sometimes produce radical works. The radicality of an artwork often has a strong visual print, a language which then becomes a questioning, an entry point for the audience, and it is hopeful to me, as this generates a dialogue with the artwork. The other format integrates needs, innovations, the audience’s desires. One must then find ways to bring this information through materials, functionality, and shape.

How has your brand A Cold-Wall evolved?

Before the arrival of Covid, we only presented two collections a year. Now we present four: the two main seasons and the pre-collections. This has given us the opportunity to diversify our language according to different audiences. The pre-collections are rather focused on technicity, urban look and athletics, streetwear. For our main collections, we rather concentrate on an intellectual creative language. Clothes are rather esoteric, much more expressive in their shape and the way materials are used. One is much more technical and the other much more artisanal.

Do you still own your brand?

I am the majority owner of the company, but I have a commercial partnership. I am associated with “Tomorrow Holding”, an investment company specialized in retail sales and fashion product distribution, based in Milan and London. We have been working together for four years now. And I have also created a sister brand, smaller, Polythène, which started-off very well. Over six months, we managed to reach a seven-digit turnover. It is a rather accessible brand, thought for the younger audience.

What do you think of some brands which only create 3D digital fashion? Would you be interested in joining one day a virtual fashion concept, more sustainable?

Up until now, we focused on virtual in design. I think there is a physical and digital artefact. It is not one or the other, it is both. I want to know where inspiration comes from for these two elements. We have taken a bit more time to look at virtual clothes, as a great part of our clothes are focused on material sensitivity. I am still thinking about the way in which clothes will interact in the metaverse, but they will be there, completely.