The Abstracted Fashion of Samuel Ross
As Samuel Ross’ solo debut exhibition LAND opens at White Cube Bermondsey this month, we explore the multidisciplinary artist’s fascinating journey from fashion to fine art.
By
Shin Hui Lee
April 12, 2023
Not many of us can say that our lives changed overnight at the drop of an email from Virgil Abloh. Samuel Ross (b. 1991) can. Just 24 hours after stumbling upon Ross’ Instagram in 2013, Abloh brought the British designer on as first design assistant at Pyrex Vision. Together, they transformed Pyrex Vision into what would become the fashion behemoth known today as Off-White. At the same time, Ross also contributed to projects for Kanye West’s design agency Donda, as well as for Hood by Air, Stüssy, Yeezy and A.P.C, cementing him as a name to remember in the burgeoning arena between streetwear and high fashion.
Since then, Ross has lived up to that potential and more. At 25 years old, Ross self-funded and founded his own contemporary menswear label A-COLD-WALL*, inspired by his understanding of race, class and architecture growing up between Brixton and Northamptonshire. Indeed, aiming to merge “material investigation and innovation” with “incisive explorations of Brutalist and abstract forms and precise execution”, his collections feature avant-garde concepts alongside deconstructed silhouettes, razor sharp tailoring alongside utilitarian uniforms, and sportswear fabrics alongside building materials. Collapsing these arbitrary notions of high and low, Ross became known for his signature industrial style through innovative elements such as oversized pockets, PVC panels and removable patches. The result of this was not only an official slot at London Fashion Week, but also a slew of nominations and awards including the prestigious British Fashion Award for Emerging Talent Menswear 2018.
Central to A-COLD-WALL*’s continued success is Ross’ preternatural finesse in imbuing creative vision with intelligent design. Through his label, Ross encourages us to interrogate our modern condition- how we forge a sense of individuality and subsequently move through a society marked by myriad distinctions. A-COLD-WALL*, in this sense, exists as a much-needed disruption of the fashion industry’s status quo, highlighting fashion’s often overlooked role in creating and disseminating meaningful social and political messages, and its aptness to eventually be canonised into art itself.
Turning his attention from fashion to design, Ross launched his industrial design studio SR_A in 2019, focusing on the tenets of “luxury industrial design, interior installation, furniture design, sound design and sculptural/visual communication”. Under this moniker, Ross has co-created a watch with Hublot, redesigned perfume bottles for Acqua di Parma and released an exclusive set of headphones with Beats by Dre. Across these diverse ventures, one thing prevails- Ross’ overarching consideration of the presence of the human form. Fascinated by the inherent civic relationship between artist and society, Ross designs clothes to be worn, just as he designs interior spaces to be inhabited. Their tangibility and substantiality validating their very existence.
Aesthetically, Ross’ designs also extrapolate an idiosyncratic Black futurity. Fusing both high-tech and traditional West African materials within singular, abstract forms, Ross reveals the unique schisms between past and present, belonging and othering. A reflection, perhaps, of Ross’ own shifting conceptions of self and place as a young Black artist traversing a habitually exclusive industry. Ultimately, what Ross achieves through this is an audacious reconstruction of the prescribed thesis of modernism into a framework capable of encompassing the experience of Blackness in all its specificity and totality.
Negotiating a range of anthropological, sociological and philosophical themes, Ross’ work offers sagacious insight into the convoluted make-up of the modern societies we live in. For Ross, “the whole idea has always been to have a multitude of things happening simultaneously. It’s not just about fashion – it’s about society. It was always about society.”. Invigorated by an unshakeable desire to make his mark on culture as a whole, Ross thrives in this chameleonic space, relishing in the ability to shift freely between different disciplines. In this light, it may seem instinctual to refer to Ross by his polymathic endeavours, and by extension his multi-hyphenate status. Yet, when we impose such blanket assignations upon artists, we risk diluting the individual works themselves to the point of hollowness. By Ross’ self-description, “I have two businesses that are successful, but I’m an artist. It can be as simple as that.”.
LAND marks Ross’ inaugural solo exhibition, consisting of a body of abstract works developed over the last several years. The paintings, sculptures, soundscapes and scents on display here are a continuation of his astute explorations into the Black British working-class experience. They represent not just the sum of Ross’ decade-spanning artistic experimentation, but also offer a riveting glimpse into his future as an artist (simple as that).
Samuel Ross: LAND is on view at White Cube Bermondsey until 14th May 2023.
Make sure to collect your Yamos on the gowithYamo app when you visit!
Not many of us can say that our lives changed overnight at the drop of an email from Virgil Abloh. Samuel Ross (b. 1991) can. Just 24 hours after stumbling upon Ross’ Instagram in 2013, Abloh brought the British designer on as first design assistant at Pyrex Vision. Together, they transformed Pyrex Vision into what would become the fashion behemoth known today as Off-White. At the same time, Ross also contributed to projects for Kanye West’s design agency Donda, as well as for Hood by Air, Stüssy, Yeezy and A.P.C, cementing him as a name to remember in the burgeoning arena between streetwear and high fashion.
Since then, Ross has lived up to that potential and more. At 25 years old, Ross self-funded and founded his own contemporary menswear label A-COLD-WALL*, inspired by his understanding of race, class and architecture growing up between Brixton and Northamptonshire. Indeed, aiming to merge “material investigation and innovation” with “incisive explorations of Brutalist and abstract forms and precise execution”, his collections feature avant-garde concepts alongside deconstructed silhouettes, razor sharp tailoring alongside utilitarian uniforms, and sportswear fabrics alongside building materials. Collapsing these arbitrary notions of high and low, Ross became known for his signature industrial style through innovative elements such as oversized pockets, PVC panels and removable patches. The result of this was not only an official slot at London Fashion Week, but also a slew of nominations and awards including the prestigious British Fashion Award for Emerging Talent Menswear 2018.
Central to A-COLD-WALL*’s continued success is Ross’ preternatural finesse in imbuing creative vision with intelligent design. Through his label, Ross encourages us to interrogate our modern condition- how we forge a sense of individuality and subsequently move through a society marked by myriad distinctions. A-COLD-WALL*, in this sense, exists as a much-needed disruption of the fashion industry’s status quo, highlighting fashion’s often overlooked role in creating and disseminating meaningful social and political messages, and its aptness to eventually be canonised into art itself.
Turning his attention from fashion to design, Ross launched his industrial design studio SR_A in 2019, focusing on the tenets of “luxury industrial design, interior installation, furniture design, sound design and sculptural/visual communication”. Under this moniker, Ross has co-created a watch with Hublot, redesigned perfume bottles for Acqua di Parma and released an exclusive set of headphones with Beats by Dre. Across these diverse ventures, one thing prevails- Ross’ overarching consideration of the presence of the human form. Fascinated by the inherent civic relationship between artist and society, Ross designs clothes to be worn, just as he designs interior spaces to be inhabited. Their tangibility and substantiality validating their very existence.
Aesthetically, Ross’ designs also extrapolate an idiosyncratic Black futurity. Fusing both high-tech and traditional West African materials within singular, abstract forms, Ross reveals the unique schisms between past and present, belonging and othering. A reflection, perhaps, of Ross’ own shifting conceptions of self and place as a young Black artist traversing a habitually exclusive industry. Ultimately, what Ross achieves through this is an audacious reconstruction of the prescribed thesis of modernism into a framework capable of encompassing the experience of Blackness in all its specificity and totality.
Negotiating a range of anthropological, sociological and philosophical themes, Ross’ work offers sagacious insight into the convoluted make-up of the modern societies we live in. For Ross, “the whole idea has always been to have a multitude of things happening simultaneously. It’s not just about fashion – it’s about society. It was always about society.”. Invigorated by an unshakeable desire to make his mark on culture as a whole, Ross thrives in this chameleonic space, relishing in the ability to shift freely between different disciplines. In this light, it may seem instinctual to refer to Ross by his polymathic endeavours, and by extension his multi-hyphenate status. Yet, when we impose such blanket assignations upon artists, we risk diluting the individual works themselves to the point of hollowness. By Ross’ self-description, “I have two businesses that are successful, but I’m an artist. It can be as simple as that.”.
LAND marks Ross’ inaugural solo exhibition, consisting of a body of abstract works developed over the last several years. The paintings, sculptures, soundscapes and scents on display here are a continuation of his astute explorations into the Black British working-class experience. They represent not just the sum of Ross’ decade-spanning artistic experimentation, but also offer a riveting glimpse into his future as an artist (simple as that).
Samuel Ross: LAND is on view at White Cube Bermondsey until 14th May 2023.
Make sure to collect your Yamos on the gowithYamo app when you visit!
Not many of us can say that our lives changed overnight at the drop of an email from Virgil Abloh. Samuel Ross (b. 1991) can. Just 24 hours after stumbling upon Ross’ Instagram in 2013, Abloh brought the British designer on as first design assistant at Pyrex Vision. Together, they transformed Pyrex Vision into what would become the fashion behemoth known today as Off-White. At the same time, Ross also contributed to projects for Kanye West’s design agency Donda, as well as for Hood by Air, Stüssy, Yeezy and A.P.C, cementing him as a name to remember in the burgeoning arena between streetwear and high fashion.
Since then, Ross has lived up to that potential and more. At 25 years old, Ross self-funded and founded his own contemporary menswear label A-COLD-WALL*, inspired by his understanding of race, class and architecture growing up between Brixton and Northamptonshire. Indeed, aiming to merge “material investigation and innovation” with “incisive explorations of Brutalist and abstract forms and precise execution”, his collections feature avant-garde concepts alongside deconstructed silhouettes, razor sharp tailoring alongside utilitarian uniforms, and sportswear fabrics alongside building materials. Collapsing these arbitrary notions of high and low, Ross became known for his signature industrial style through innovative elements such as oversized pockets, PVC panels and removable patches. The result of this was not only an official slot at London Fashion Week, but also a slew of nominations and awards including the prestigious British Fashion Award for Emerging Talent Menswear 2018.
Central to A-COLD-WALL*’s continued success is Ross’ preternatural finesse in imbuing creative vision with intelligent design. Through his label, Ross encourages us to interrogate our modern condition- how we forge a sense of individuality and subsequently move through a society marked by myriad distinctions. A-COLD-WALL*, in this sense, exists as a much-needed disruption of the fashion industry’s status quo, highlighting fashion’s often overlooked role in creating and disseminating meaningful social and political messages, and its aptness to eventually be canonised into art itself.
Turning his attention from fashion to design, Ross launched his industrial design studio SR_A in 2019, focusing on the tenets of “luxury industrial design, interior installation, furniture design, sound design and sculptural/visual communication”. Under this moniker, Ross has co-created a watch with Hublot, redesigned perfume bottles for Acqua di Parma and released an exclusive set of headphones with Beats by Dre. Across these diverse ventures, one thing prevails- Ross’ overarching consideration of the presence of the human form. Fascinated by the inherent civic relationship between artist and society, Ross designs clothes to be worn, just as he designs interior spaces to be inhabited. Their tangibility and substantiality validating their very existence.
Aesthetically, Ross’ designs also extrapolate an idiosyncratic Black futurity. Fusing both high-tech and traditional West African materials within singular, abstract forms, Ross reveals the unique schisms between past and present, belonging and othering. A reflection, perhaps, of Ross’ own shifting conceptions of self and place as a young Black artist traversing a habitually exclusive industry. Ultimately, what Ross achieves through this is an audacious reconstruction of the prescribed thesis of modernism into a framework capable of encompassing the experience of Blackness in all its specificity and totality.
Negotiating a range of anthropological, sociological and philosophical themes, Ross’ work offers sagacious insight into the convoluted make-up of the modern societies we live in. For Ross, “the whole idea has always been to have a multitude of things happening simultaneously. It’s not just about fashion – it’s about society. It was always about society.”. Invigorated by an unshakeable desire to make his mark on culture as a whole, Ross thrives in this chameleonic space, relishing in the ability to shift freely between different disciplines. In this light, it may seem instinctual to refer to Ross by his polymathic endeavours, and by extension his multi-hyphenate status. Yet, when we impose such blanket assignations upon artists, we risk diluting the individual works themselves to the point of hollowness. By Ross’ self-description, “I have two businesses that are successful, but I’m an artist. It can be as simple as that.”.
LAND marks Ross’ inaugural solo exhibition, consisting of a body of abstract works developed over the last several years. The paintings, sculptures, soundscapes and scents on display here are a continuation of his astute explorations into the Black British working-class experience. They represent not just the sum of Ross’ decade-spanning artistic experimentation, but also offer a riveting glimpse into his future as an artist (simple as that).
Samuel Ross: LAND is on view at White Cube Bermondsey until 14th May 2023.
Make sure to collect your Yamos on the gowithYamo app when you visit!
Not many of us can say that our lives changed overnight at the drop of an email from Virgil Abloh. Samuel Ross (b. 1991) can. Just 24 hours after stumbling upon Ross’ Instagram in 2013, Abloh brought the British designer on as first design assistant at Pyrex Vision. Together, they transformed Pyrex Vision into what would become the fashion behemoth known today as Off-White. At the same time, Ross also contributed to projects for Kanye West’s design agency Donda, as well as for Hood by Air, Stüssy, Yeezy and A.P.C, cementing him as a name to remember in the burgeoning arena between streetwear and high fashion.
Since then, Ross has lived up to that potential and more. At 25 years old, Ross self-funded and founded his own contemporary menswear label A-COLD-WALL*, inspired by his understanding of race, class and architecture growing up between Brixton and Northamptonshire. Indeed, aiming to merge “material investigation and innovation” with “incisive explorations of Brutalist and abstract forms and precise execution”, his collections feature avant-garde concepts alongside deconstructed silhouettes, razor sharp tailoring alongside utilitarian uniforms, and sportswear fabrics alongside building materials. Collapsing these arbitrary notions of high and low, Ross became known for his signature industrial style through innovative elements such as oversized pockets, PVC panels and removable patches. The result of this was not only an official slot at London Fashion Week, but also a slew of nominations and awards including the prestigious British Fashion Award for Emerging Talent Menswear 2018.
Central to A-COLD-WALL*’s continued success is Ross’ preternatural finesse in imbuing creative vision with intelligent design. Through his label, Ross encourages us to interrogate our modern condition- how we forge a sense of individuality and subsequently move through a society marked by myriad distinctions. A-COLD-WALL*, in this sense, exists as a much-needed disruption of the fashion industry’s status quo, highlighting fashion’s often overlooked role in creating and disseminating meaningful social and political messages, and its aptness to eventually be canonised into art itself.
Turning his attention from fashion to design, Ross launched his industrial design studio SR_A in 2019, focusing on the tenets of “luxury industrial design, interior installation, furniture design, sound design and sculptural/visual communication”. Under this moniker, Ross has co-created a watch with Hublot, redesigned perfume bottles for Acqua di Parma and released an exclusive set of headphones with Beats by Dre. Across these diverse ventures, one thing prevails- Ross’ overarching consideration of the presence of the human form. Fascinated by the inherent civic relationship between artist and society, Ross designs clothes to be worn, just as he designs interior spaces to be inhabited. Their tangibility and substantiality validating their very existence.
Aesthetically, Ross’ designs also extrapolate an idiosyncratic Black futurity. Fusing both high-tech and traditional West African materials within singular, abstract forms, Ross reveals the unique schisms between past and present, belonging and othering. A reflection, perhaps, of Ross’ own shifting conceptions of self and place as a young Black artist traversing a habitually exclusive industry. Ultimately, what Ross achieves through this is an audacious reconstruction of the prescribed thesis of modernism into a framework capable of encompassing the experience of Blackness in all its specificity and totality.
Negotiating a range of anthropological, sociological and philosophical themes, Ross’ work offers sagacious insight into the convoluted make-up of the modern societies we live in. For Ross, “the whole idea has always been to have a multitude of things happening simultaneously. It’s not just about fashion – it’s about society. It was always about society.”. Invigorated by an unshakeable desire to make his mark on culture as a whole, Ross thrives in this chameleonic space, relishing in the ability to shift freely between different disciplines. In this light, it may seem instinctual to refer to Ross by his polymathic endeavours, and by extension his multi-hyphenate status. Yet, when we impose such blanket assignations upon artists, we risk diluting the individual works themselves to the point of hollowness. By Ross’ self-description, “I have two businesses that are successful, but I’m an artist. It can be as simple as that.”.
LAND marks Ross’ inaugural solo exhibition, consisting of a body of abstract works developed over the last several years. The paintings, sculptures, soundscapes and scents on display here are a continuation of his astute explorations into the Black British working-class experience. They represent not just the sum of Ross’ decade-spanning artistic experimentation, but also offer a riveting glimpse into his future as an artist (simple as that).
Samuel Ross: LAND is on view at White Cube Bermondsey until 14th May 2023.
Make sure to collect your Yamos on the gowithYamo app when you visit!
Not many of us can say that our lives changed overnight at the drop of an email from Virgil Abloh. Samuel Ross (b. 1991) can. Just 24 hours after stumbling upon Ross’ Instagram in 2013, Abloh brought the British designer on as first design assistant at Pyrex Vision. Together, they transformed Pyrex Vision into what would become the fashion behemoth known today as Off-White. At the same time, Ross also contributed to projects for Kanye West’s design agency Donda, as well as for Hood by Air, Stüssy, Yeezy and A.P.C, cementing him as a name to remember in the burgeoning arena between streetwear and high fashion.
Since then, Ross has lived up to that potential and more. At 25 years old, Ross self-funded and founded his own contemporary menswear label A-COLD-WALL*, inspired by his understanding of race, class and architecture growing up between Brixton and Northamptonshire. Indeed, aiming to merge “material investigation and innovation” with “incisive explorations of Brutalist and abstract forms and precise execution”, his collections feature avant-garde concepts alongside deconstructed silhouettes, razor sharp tailoring alongside utilitarian uniforms, and sportswear fabrics alongside building materials. Collapsing these arbitrary notions of high and low, Ross became known for his signature industrial style through innovative elements such as oversized pockets, PVC panels and removable patches. The result of this was not only an official slot at London Fashion Week, but also a slew of nominations and awards including the prestigious British Fashion Award for Emerging Talent Menswear 2018.
Central to A-COLD-WALL*’s continued success is Ross’ preternatural finesse in imbuing creative vision with intelligent design. Through his label, Ross encourages us to interrogate our modern condition- how we forge a sense of individuality and subsequently move through a society marked by myriad distinctions. A-COLD-WALL*, in this sense, exists as a much-needed disruption of the fashion industry’s status quo, highlighting fashion’s often overlooked role in creating and disseminating meaningful social and political messages, and its aptness to eventually be canonised into art itself.
Turning his attention from fashion to design, Ross launched his industrial design studio SR_A in 2019, focusing on the tenets of “luxury industrial design, interior installation, furniture design, sound design and sculptural/visual communication”. Under this moniker, Ross has co-created a watch with Hublot, redesigned perfume bottles for Acqua di Parma and released an exclusive set of headphones with Beats by Dre. Across these diverse ventures, one thing prevails- Ross’ overarching consideration of the presence of the human form. Fascinated by the inherent civic relationship between artist and society, Ross designs clothes to be worn, just as he designs interior spaces to be inhabited. Their tangibility and substantiality validating their very existence.
Aesthetically, Ross’ designs also extrapolate an idiosyncratic Black futurity. Fusing both high-tech and traditional West African materials within singular, abstract forms, Ross reveals the unique schisms between past and present, belonging and othering. A reflection, perhaps, of Ross’ own shifting conceptions of self and place as a young Black artist traversing a habitually exclusive industry. Ultimately, what Ross achieves through this is an audacious reconstruction of the prescribed thesis of modernism into a framework capable of encompassing the experience of Blackness in all its specificity and totality.
Negotiating a range of anthropological, sociological and philosophical themes, Ross’ work offers sagacious insight into the convoluted make-up of the modern societies we live in. For Ross, “the whole idea has always been to have a multitude of things happening simultaneously. It’s not just about fashion – it’s about society. It was always about society.”. Invigorated by an unshakeable desire to make his mark on culture as a whole, Ross thrives in this chameleonic space, relishing in the ability to shift freely between different disciplines. In this light, it may seem instinctual to refer to Ross by his polymathic endeavours, and by extension his multi-hyphenate status. Yet, when we impose such blanket assignations upon artists, we risk diluting the individual works themselves to the point of hollowness. By Ross’ self-description, “I have two businesses that are successful, but I’m an artist. It can be as simple as that.”.
LAND marks Ross’ inaugural solo exhibition, consisting of a body of abstract works developed over the last several years. The paintings, sculptures, soundscapes and scents on display here are a continuation of his astute explorations into the Black British working-class experience. They represent not just the sum of Ross’ decade-spanning artistic experimentation, but also offer a riveting glimpse into his future as an artist (simple as that).
Samuel Ross: LAND is on view at White Cube Bermondsey until 14th May 2023.
Make sure to collect your Yamos on the gowithYamo app when you visit!
Not many of us can say that our lives changed overnight at the drop of an email from Virgil Abloh. Samuel Ross (b. 1991) can. Just 24 hours after stumbling upon Ross’ Instagram in 2013, Abloh brought the British designer on as first design assistant at Pyrex Vision. Together, they transformed Pyrex Vision into what would become the fashion behemoth known today as Off-White. At the same time, Ross also contributed to projects for Kanye West’s design agency Donda, as well as for Hood by Air, Stüssy, Yeezy and A.P.C, cementing him as a name to remember in the burgeoning arena between streetwear and high fashion.
Since then, Ross has lived up to that potential and more. At 25 years old, Ross self-funded and founded his own contemporary menswear label A-COLD-WALL*, inspired by his understanding of race, class and architecture growing up between Brixton and Northamptonshire. Indeed, aiming to merge “material investigation and innovation” with “incisive explorations of Brutalist and abstract forms and precise execution”, his collections feature avant-garde concepts alongside deconstructed silhouettes, razor sharp tailoring alongside utilitarian uniforms, and sportswear fabrics alongside building materials. Collapsing these arbitrary notions of high and low, Ross became known for his signature industrial style through innovative elements such as oversized pockets, PVC panels and removable patches. The result of this was not only an official slot at London Fashion Week, but also a slew of nominations and awards including the prestigious British Fashion Award for Emerging Talent Menswear 2018.
Central to A-COLD-WALL*’s continued success is Ross’ preternatural finesse in imbuing creative vision with intelligent design. Through his label, Ross encourages us to interrogate our modern condition- how we forge a sense of individuality and subsequently move through a society marked by myriad distinctions. A-COLD-WALL*, in this sense, exists as a much-needed disruption of the fashion industry’s status quo, highlighting fashion’s often overlooked role in creating and disseminating meaningful social and political messages, and its aptness to eventually be canonised into art itself.
Turning his attention from fashion to design, Ross launched his industrial design studio SR_A in 2019, focusing on the tenets of “luxury industrial design, interior installation, furniture design, sound design and sculptural/visual communication”. Under this moniker, Ross has co-created a watch with Hublot, redesigned perfume bottles for Acqua di Parma and released an exclusive set of headphones with Beats by Dre. Across these diverse ventures, one thing prevails- Ross’ overarching consideration of the presence of the human form. Fascinated by the inherent civic relationship between artist and society, Ross designs clothes to be worn, just as he designs interior spaces to be inhabited. Their tangibility and substantiality validating their very existence.
Aesthetically, Ross’ designs also extrapolate an idiosyncratic Black futurity. Fusing both high-tech and traditional West African materials within singular, abstract forms, Ross reveals the unique schisms between past and present, belonging and othering. A reflection, perhaps, of Ross’ own shifting conceptions of self and place as a young Black artist traversing a habitually exclusive industry. Ultimately, what Ross achieves through this is an audacious reconstruction of the prescribed thesis of modernism into a framework capable of encompassing the experience of Blackness in all its specificity and totality.
Negotiating a range of anthropological, sociological and philosophical themes, Ross’ work offers sagacious insight into the convoluted make-up of the modern societies we live in. For Ross, “the whole idea has always been to have a multitude of things happening simultaneously. It’s not just about fashion – it’s about society. It was always about society.”. Invigorated by an unshakeable desire to make his mark on culture as a whole, Ross thrives in this chameleonic space, relishing in the ability to shift freely between different disciplines. In this light, it may seem instinctual to refer to Ross by his polymathic endeavours, and by extension his multi-hyphenate status. Yet, when we impose such blanket assignations upon artists, we risk diluting the individual works themselves to the point of hollowness. By Ross’ self-description, “I have two businesses that are successful, but I’m an artist. It can be as simple as that.”.
LAND marks Ross’ inaugural solo exhibition, consisting of a body of abstract works developed over the last several years. The paintings, sculptures, soundscapes and scents on display here are a continuation of his astute explorations into the Black British working-class experience. They represent not just the sum of Ross’ decade-spanning artistic experimentation, but also offer a riveting glimpse into his future as an artist (simple as that).
Samuel Ross: LAND is on view at White Cube Bermondsey until 14th May 2023.
Make sure to collect your Yamos on the gowithYamo app when you visit!
Not many of us can say that our lives changed overnight at the drop of an email from Virgil Abloh. Samuel Ross (b. 1991) can. Just 24 hours after stumbling upon Ross’ Instagram in 2013, Abloh brought the British designer on as first design assistant at Pyrex Vision. Together, they transformed Pyrex Vision into what would become the fashion behemoth known today as Off-White. At the same time, Ross also contributed to projects for Kanye West’s design agency Donda, as well as for Hood by Air, Stüssy, Yeezy and A.P.C, cementing him as a name to remember in the burgeoning arena between streetwear and high fashion.
Since then, Ross has lived up to that potential and more. At 25 years old, Ross self-funded and founded his own contemporary menswear label A-COLD-WALL*, inspired by his understanding of race, class and architecture growing up between Brixton and Northamptonshire. Indeed, aiming to merge “material investigation and innovation” with “incisive explorations of Brutalist and abstract forms and precise execution”, his collections feature avant-garde concepts alongside deconstructed silhouettes, razor sharp tailoring alongside utilitarian uniforms, and sportswear fabrics alongside building materials. Collapsing these arbitrary notions of high and low, Ross became known for his signature industrial style through innovative elements such as oversized pockets, PVC panels and removable patches. The result of this was not only an official slot at London Fashion Week, but also a slew of nominations and awards including the prestigious British Fashion Award for Emerging Talent Menswear 2018.
Central to A-COLD-WALL*’s continued success is Ross’ preternatural finesse in imbuing creative vision with intelligent design. Through his label, Ross encourages us to interrogate our modern condition- how we forge a sense of individuality and subsequently move through a society marked by myriad distinctions. A-COLD-WALL*, in this sense, exists as a much-needed disruption of the fashion industry’s status quo, highlighting fashion’s often overlooked role in creating and disseminating meaningful social and political messages, and its aptness to eventually be canonised into art itself.
Turning his attention from fashion to design, Ross launched his industrial design studio SR_A in 2019, focusing on the tenets of “luxury industrial design, interior installation, furniture design, sound design and sculptural/visual communication”. Under this moniker, Ross has co-created a watch with Hublot, redesigned perfume bottles for Acqua di Parma and released an exclusive set of headphones with Beats by Dre. Across these diverse ventures, one thing prevails- Ross’ overarching consideration of the presence of the human form. Fascinated by the inherent civic relationship between artist and society, Ross designs clothes to be worn, just as he designs interior spaces to be inhabited. Their tangibility and substantiality validating their very existence.
Aesthetically, Ross’ designs also extrapolate an idiosyncratic Black futurity. Fusing both high-tech and traditional West African materials within singular, abstract forms, Ross reveals the unique schisms between past and present, belonging and othering. A reflection, perhaps, of Ross’ own shifting conceptions of self and place as a young Black artist traversing a habitually exclusive industry. Ultimately, what Ross achieves through this is an audacious reconstruction of the prescribed thesis of modernism into a framework capable of encompassing the experience of Blackness in all its specificity and totality.
Negotiating a range of anthropological, sociological and philosophical themes, Ross’ work offers sagacious insight into the convoluted make-up of the modern societies we live in. For Ross, “the whole idea has always been to have a multitude of things happening simultaneously. It’s not just about fashion – it’s about society. It was always about society.”. Invigorated by an unshakeable desire to make his mark on culture as a whole, Ross thrives in this chameleonic space, relishing in the ability to shift freely between different disciplines. In this light, it may seem instinctual to refer to Ross by his polymathic endeavours, and by extension his multi-hyphenate status. Yet, when we impose such blanket assignations upon artists, we risk diluting the individual works themselves to the point of hollowness. By Ross’ self-description, “I have two businesses that are successful, but I’m an artist. It can be as simple as that.”.
LAND marks Ross’ inaugural solo exhibition, consisting of a body of abstract works developed over the last several years. The paintings, sculptures, soundscapes and scents on display here are a continuation of his astute explorations into the Black British working-class experience. They represent not just the sum of Ross’ decade-spanning artistic experimentation, but also offer a riveting glimpse into his future as an artist (simple as that).
Samuel Ross: LAND is on view at White Cube Bermondsey until 14th May 2023.
Make sure to collect your Yamos on the gowithYamo app when you visit!
Not many of us can say that our lives changed overnight at the drop of an email from Virgil Abloh. Samuel Ross (b. 1991) can. Just 24 hours after stumbling upon Ross’ Instagram in 2013, Abloh brought the British designer on as first design assistant at Pyrex Vision. Together, they transformed Pyrex Vision into what would become the fashion behemoth known today as Off-White. At the same time, Ross also contributed to projects for Kanye West’s design agency Donda, as well as for Hood by Air, Stüssy, Yeezy and A.P.C, cementing him as a name to remember in the burgeoning arena between streetwear and high fashion.
Since then, Ross has lived up to that potential and more. At 25 years old, Ross self-funded and founded his own contemporary menswear label A-COLD-WALL*, inspired by his understanding of race, class and architecture growing up between Brixton and Northamptonshire. Indeed, aiming to merge “material investigation and innovation” with “incisive explorations of Brutalist and abstract forms and precise execution”, his collections feature avant-garde concepts alongside deconstructed silhouettes, razor sharp tailoring alongside utilitarian uniforms, and sportswear fabrics alongside building materials. Collapsing these arbitrary notions of high and low, Ross became known for his signature industrial style through innovative elements such as oversized pockets, PVC panels and removable patches. The result of this was not only an official slot at London Fashion Week, but also a slew of nominations and awards including the prestigious British Fashion Award for Emerging Talent Menswear 2018.
Central to A-COLD-WALL*’s continued success is Ross’ preternatural finesse in imbuing creative vision with intelligent design. Through his label, Ross encourages us to interrogate our modern condition- how we forge a sense of individuality and subsequently move through a society marked by myriad distinctions. A-COLD-WALL*, in this sense, exists as a much-needed disruption of the fashion industry’s status quo, highlighting fashion’s often overlooked role in creating and disseminating meaningful social and political messages, and its aptness to eventually be canonised into art itself.
Turning his attention from fashion to design, Ross launched his industrial design studio SR_A in 2019, focusing on the tenets of “luxury industrial design, interior installation, furniture design, sound design and sculptural/visual communication”. Under this moniker, Ross has co-created a watch with Hublot, redesigned perfume bottles for Acqua di Parma and released an exclusive set of headphones with Beats by Dre. Across these diverse ventures, one thing prevails- Ross’ overarching consideration of the presence of the human form. Fascinated by the inherent civic relationship between artist and society, Ross designs clothes to be worn, just as he designs interior spaces to be inhabited. Their tangibility and substantiality validating their very existence.
Aesthetically, Ross’ designs also extrapolate an idiosyncratic Black futurity. Fusing both high-tech and traditional West African materials within singular, abstract forms, Ross reveals the unique schisms between past and present, belonging and othering. A reflection, perhaps, of Ross’ own shifting conceptions of self and place as a young Black artist traversing a habitually exclusive industry. Ultimately, what Ross achieves through this is an audacious reconstruction of the prescribed thesis of modernism into a framework capable of encompassing the experience of Blackness in all its specificity and totality.
Negotiating a range of anthropological, sociological and philosophical themes, Ross’ work offers sagacious insight into the convoluted make-up of the modern societies we live in. For Ross, “the whole idea has always been to have a multitude of things happening simultaneously. It’s not just about fashion – it’s about society. It was always about society.”. Invigorated by an unshakeable desire to make his mark on culture as a whole, Ross thrives in this chameleonic space, relishing in the ability to shift freely between different disciplines. In this light, it may seem instinctual to refer to Ross by his polymathic endeavours, and by extension his multi-hyphenate status. Yet, when we impose such blanket assignations upon artists, we risk diluting the individual works themselves to the point of hollowness. By Ross’ self-description, “I have two businesses that are successful, but I’m an artist. It can be as simple as that.”.
LAND marks Ross’ inaugural solo exhibition, consisting of a body of abstract works developed over the last several years. The paintings, sculptures, soundscapes and scents on display here are a continuation of his astute explorations into the Black British working-class experience. They represent not just the sum of Ross’ decade-spanning artistic experimentation, but also offer a riveting glimpse into his future as an artist (simple as that).
Samuel Ross: LAND is on view at White Cube Bermondsey until 14th May 2023.
Make sure to collect your Yamos on the gowithYamo app when you visit!
Not many of us can say that our lives changed overnight at the drop of an email from Virgil Abloh. Samuel Ross (b. 1991) can. Just 24 hours after stumbling upon Ross’ Instagram in 2013, Abloh brought the British designer on as first design assistant at Pyrex Vision. Together, they transformed Pyrex Vision into what would become the fashion behemoth known today as Off-White. At the same time, Ross also contributed to projects for Kanye West’s design agency Donda, as well as for Hood by Air, Stüssy, Yeezy and A.P.C, cementing him as a name to remember in the burgeoning arena between streetwear and high fashion.
Since then, Ross has lived up to that potential and more. At 25 years old, Ross self-funded and founded his own contemporary menswear label A-COLD-WALL*, inspired by his understanding of race, class and architecture growing up between Brixton and Northamptonshire. Indeed, aiming to merge “material investigation and innovation” with “incisive explorations of Brutalist and abstract forms and precise execution”, his collections feature avant-garde concepts alongside deconstructed silhouettes, razor sharp tailoring alongside utilitarian uniforms, and sportswear fabrics alongside building materials. Collapsing these arbitrary notions of high and low, Ross became known for his signature industrial style through innovative elements such as oversized pockets, PVC panels and removable patches. The result of this was not only an official slot at London Fashion Week, but also a slew of nominations and awards including the prestigious British Fashion Award for Emerging Talent Menswear 2018.
Central to A-COLD-WALL*’s continued success is Ross’ preternatural finesse in imbuing creative vision with intelligent design. Through his label, Ross encourages us to interrogate our modern condition- how we forge a sense of individuality and subsequently move through a society marked by myriad distinctions. A-COLD-WALL*, in this sense, exists as a much-needed disruption of the fashion industry’s status quo, highlighting fashion’s often overlooked role in creating and disseminating meaningful social and political messages, and its aptness to eventually be canonised into art itself.
Turning his attention from fashion to design, Ross launched his industrial design studio SR_A in 2019, focusing on the tenets of “luxury industrial design, interior installation, furniture design, sound design and sculptural/visual communication”. Under this moniker, Ross has co-created a watch with Hublot, redesigned perfume bottles for Acqua di Parma and released an exclusive set of headphones with Beats by Dre. Across these diverse ventures, one thing prevails- Ross’ overarching consideration of the presence of the human form. Fascinated by the inherent civic relationship between artist and society, Ross designs clothes to be worn, just as he designs interior spaces to be inhabited. Their tangibility and substantiality validating their very existence.
Aesthetically, Ross’ designs also extrapolate an idiosyncratic Black futurity. Fusing both high-tech and traditional West African materials within singular, abstract forms, Ross reveals the unique schisms between past and present, belonging and othering. A reflection, perhaps, of Ross’ own shifting conceptions of self and place as a young Black artist traversing a habitually exclusive industry. Ultimately, what Ross achieves through this is an audacious reconstruction of the prescribed thesis of modernism into a framework capable of encompassing the experience of Blackness in all its specificity and totality.
Negotiating a range of anthropological, sociological and philosophical themes, Ross’ work offers sagacious insight into the convoluted make-up of the modern societies we live in. For Ross, “the whole idea has always been to have a multitude of things happening simultaneously. It’s not just about fashion – it’s about society. It was always about society.”. Invigorated by an unshakeable desire to make his mark on culture as a whole, Ross thrives in this chameleonic space, relishing in the ability to shift freely between different disciplines. In this light, it may seem instinctual to refer to Ross by his polymathic endeavours, and by extension his multi-hyphenate status. Yet, when we impose such blanket assignations upon artists, we risk diluting the individual works themselves to the point of hollowness. By Ross’ self-description, “I have two businesses that are successful, but I’m an artist. It can be as simple as that.”.
LAND marks Ross’ inaugural solo exhibition, consisting of a body of abstract works developed over the last several years. The paintings, sculptures, soundscapes and scents on display here are a continuation of his astute explorations into the Black British working-class experience. They represent not just the sum of Ross’ decade-spanning artistic experimentation, but also offer a riveting glimpse into his future as an artist (simple as that).
Samuel Ross: LAND is on view at White Cube Bermondsey until 14th May 2023.
Make sure to collect your Yamos on the gowithYamo app when you visit!
Not many of us can say that our lives changed overnight at the drop of an email from Virgil Abloh. Samuel Ross (b. 1991) can. Just 24 hours after stumbling upon Ross’ Instagram in 2013, Abloh brought the British designer on as first design assistant at Pyrex Vision. Together, they transformed Pyrex Vision into what would become the fashion behemoth known today as Off-White. At the same time, Ross also contributed to projects for Kanye West’s design agency Donda, as well as for Hood by Air, Stüssy, Yeezy and A.P.C, cementing him as a name to remember in the burgeoning arena between streetwear and high fashion.
Since then, Ross has lived up to that potential and more. At 25 years old, Ross self-funded and founded his own contemporary menswear label A-COLD-WALL*, inspired by his understanding of race, class and architecture growing up between Brixton and Northamptonshire. Indeed, aiming to merge “material investigation and innovation” with “incisive explorations of Brutalist and abstract forms and precise execution”, his collections feature avant-garde concepts alongside deconstructed silhouettes, razor sharp tailoring alongside utilitarian uniforms, and sportswear fabrics alongside building materials. Collapsing these arbitrary notions of high and low, Ross became known for his signature industrial style through innovative elements such as oversized pockets, PVC panels and removable patches. The result of this was not only an official slot at London Fashion Week, but also a slew of nominations and awards including the prestigious British Fashion Award for Emerging Talent Menswear 2018.
Central to A-COLD-WALL*’s continued success is Ross’ preternatural finesse in imbuing creative vision with intelligent design. Through his label, Ross encourages us to interrogate our modern condition- how we forge a sense of individuality and subsequently move through a society marked by myriad distinctions. A-COLD-WALL*, in this sense, exists as a much-needed disruption of the fashion industry’s status quo, highlighting fashion’s often overlooked role in creating and disseminating meaningful social and political messages, and its aptness to eventually be canonised into art itself.
Turning his attention from fashion to design, Ross launched his industrial design studio SR_A in 2019, focusing on the tenets of “luxury industrial design, interior installation, furniture design, sound design and sculptural/visual communication”. Under this moniker, Ross has co-created a watch with Hublot, redesigned perfume bottles for Acqua di Parma and released an exclusive set of headphones with Beats by Dre. Across these diverse ventures, one thing prevails- Ross’ overarching consideration of the presence of the human form. Fascinated by the inherent civic relationship between artist and society, Ross designs clothes to be worn, just as he designs interior spaces to be inhabited. Their tangibility and substantiality validating their very existence.
Aesthetically, Ross’ designs also extrapolate an idiosyncratic Black futurity. Fusing both high-tech and traditional West African materials within singular, abstract forms, Ross reveals the unique schisms between past and present, belonging and othering. A reflection, perhaps, of Ross’ own shifting conceptions of self and place as a young Black artist traversing a habitually exclusive industry. Ultimately, what Ross achieves through this is an audacious reconstruction of the prescribed thesis of modernism into a framework capable of encompassing the experience of Blackness in all its specificity and totality.
Negotiating a range of anthropological, sociological and philosophical themes, Ross’ work offers sagacious insight into the convoluted make-up of the modern societies we live in. For Ross, “the whole idea has always been to have a multitude of things happening simultaneously. It’s not just about fashion – it’s about society. It was always about society.”. Invigorated by an unshakeable desire to make his mark on culture as a whole, Ross thrives in this chameleonic space, relishing in the ability to shift freely between different disciplines. In this light, it may seem instinctual to refer to Ross by his polymathic endeavours, and by extension his multi-hyphenate status. Yet, when we impose such blanket assignations upon artists, we risk diluting the individual works themselves to the point of hollowness. By Ross’ self-description, “I have two businesses that are successful, but I’m an artist. It can be as simple as that.”.
LAND marks Ross’ inaugural solo exhibition, consisting of a body of abstract works developed over the last several years. The paintings, sculptures, soundscapes and scents on display here are a continuation of his astute explorations into the Black British working-class experience. They represent not just the sum of Ross’ decade-spanning artistic experimentation, but also offer a riveting glimpse into his future as an artist (simple as that).
Samuel Ross: LAND is on view at White Cube Bermondsey until 14th May 2023.
Make sure to collect your Yamos on the gowithYamo app when you visit!
Not many of us can say that our lives changed overnight at the drop of an email from Virgil Abloh. Samuel Ross (b. 1991) can. Just 24 hours after stumbling upon Ross’ Instagram in 2013, Abloh brought the British designer on as first design assistant at Pyrex Vision. Together, they transformed Pyrex Vision into what would become the fashion behemoth known today as Off-White. At the same time, Ross also contributed to projects for Kanye West’s design agency Donda, as well as for Hood by Air, Stüssy, Yeezy and A.P.C, cementing him as a name to remember in the burgeoning arena between streetwear and high fashion.
Since then, Ross has lived up to that potential and more. At 25 years old, Ross self-funded and founded his own contemporary menswear label A-COLD-WALL*, inspired by his understanding of race, class and architecture growing up between Brixton and Northamptonshire. Indeed, aiming to merge “material investigation and innovation” with “incisive explorations of Brutalist and abstract forms and precise execution”, his collections feature avant-garde concepts alongside deconstructed silhouettes, razor sharp tailoring alongside utilitarian uniforms, and sportswear fabrics alongside building materials. Collapsing these arbitrary notions of high and low, Ross became known for his signature industrial style through innovative elements such as oversized pockets, PVC panels and removable patches. The result of this was not only an official slot at London Fashion Week, but also a slew of nominations and awards including the prestigious British Fashion Award for Emerging Talent Menswear 2018.
Central to A-COLD-WALL*’s continued success is Ross’ preternatural finesse in imbuing creative vision with intelligent design. Through his label, Ross encourages us to interrogate our modern condition- how we forge a sense of individuality and subsequently move through a society marked by myriad distinctions. A-COLD-WALL*, in this sense, exists as a much-needed disruption of the fashion industry’s status quo, highlighting fashion’s often overlooked role in creating and disseminating meaningful social and political messages, and its aptness to eventually be canonised into art itself.
Turning his attention from fashion to design, Ross launched his industrial design studio SR_A in 2019, focusing on the tenets of “luxury industrial design, interior installation, furniture design, sound design and sculptural/visual communication”. Under this moniker, Ross has co-created a watch with Hublot, redesigned perfume bottles for Acqua di Parma and released an exclusive set of headphones with Beats by Dre. Across these diverse ventures, one thing prevails- Ross’ overarching consideration of the presence of the human form. Fascinated by the inherent civic relationship between artist and society, Ross designs clothes to be worn, just as he designs interior spaces to be inhabited. Their tangibility and substantiality validating their very existence.
Aesthetically, Ross’ designs also extrapolate an idiosyncratic Black futurity. Fusing both high-tech and traditional West African materials within singular, abstract forms, Ross reveals the unique schisms between past and present, belonging and othering. A reflection, perhaps, of Ross’ own shifting conceptions of self and place as a young Black artist traversing a habitually exclusive industry. Ultimately, what Ross achieves through this is an audacious reconstruction of the prescribed thesis of modernism into a framework capable of encompassing the experience of Blackness in all its specificity and totality.
Negotiating a range of anthropological, sociological and philosophical themes, Ross’ work offers sagacious insight into the convoluted make-up of the modern societies we live in. For Ross, “the whole idea has always been to have a multitude of things happening simultaneously. It’s not just about fashion – it’s about society. It was always about society.”. Invigorated by an unshakeable desire to make his mark on culture as a whole, Ross thrives in this chameleonic space, relishing in the ability to shift freely between different disciplines. In this light, it may seem instinctual to refer to Ross by his polymathic endeavours, and by extension his multi-hyphenate status. Yet, when we impose such blanket assignations upon artists, we risk diluting the individual works themselves to the point of hollowness. By Ross’ self-description, “I have two businesses that are successful, but I’m an artist. It can be as simple as that.”.
LAND marks Ross’ inaugural solo exhibition, consisting of a body of abstract works developed over the last several years. The paintings, sculptures, soundscapes and scents on display here are a continuation of his astute explorations into the Black British working-class experience. They represent not just the sum of Ross’ decade-spanning artistic experimentation, but also offer a riveting glimpse into his future as an artist (simple as that).
Samuel Ross: LAND is on view at White Cube Bermondsey until 14th May 2023.
Make sure to collect your Yamos on the gowithYamo app when you visit!
