That was grunge-de-luxe what Marc Jacobs designed for Louis Vuitton. A bit ironic and provocative, but in a beautiful and sensual way. And melancholic. The set was a circular “hotel” constructed within the vast tent pitched in a Louvre courtyard. The wallpapered corridor housed 50 closed doors which the models opened and exited. The audience became voyeurs, as each “room” featured projections of hotel guests lounging and getting dressed, unaware of the scores of peering eyes.
Jacobs focused on the intimate sartorial gesture: slips, pajamas, robes de chambre. These were paired with some of the season’s best coats and jackets, worn in odd combinations — proportions deliberately awkward, colors sometimes off.
The pieces were gorgeous: a herringbone pattern made entirely of embroidered sequins; voluptuous robes lined in marabou. Some coats came in cashmere with deep borders of dégradé sequins; others, in thick silk printed to resemble English tweeds.
Of course, there were Vuitton bags – but without a logo in sight. Jacobs interpreted the house’s classic shapes in tony materials — croc, python, mink and hand-curled goose feathers — often finished with carved ebony or wooden handles.
For the set of his show Marc Jacobs got inspired by the ‘Weather Project’ of artist Olafur Eliasson’s, a huge hot sun that shone intensely on the models. Jacobs started his show under the sun’s low frequency light that removed all color, everything seemed black, gray and sepia. Then the light changed and it revealed a beautiful palette of neutrals and soft colors, poink, blue, deep burgundy and green. It was a simple collection without any techno-fabrics. Jacobs choose traditional materials like cashmere and alpaca, silk and fur. For day there were chic skirt looks and coats in blue alpaca and pink cashmere.The shine came via an embroidered fishnet motif on sensual pajama looks, and fox-collared tulle jackets covered in big, loose paillettes, some over-sequined gowns.
Marc Jacobs took fashion into another direction. Again. But he still finds a covered girl sexy, so that opinion didn’t change. The result for his ss2013 collection: suits with below-the-knee skirts worn low on the hips, bare midriffs and long skirts and dresses. Many of the outfits came in wide vertical stripes — black, maroon, taupe — with matching purses and little shoes with low heels. The models’ hair was ratted at the crown and pulled into a low ponytail.
The show was literally eyepopping and a play with optical illusions, also 1960 Swinging London revisited. The message for summer 2013 was hard, young and graphic. The geometric elements were everywhere: zigzag op-art patterns or harlequin effects; shoes with checkered heels.
It was a spectacular set at the Marc Jacobs’ show yesterday. The designers’ friend artist Rachel Weinstein was responsible for this paper construction looking like “a broken castle. Marie Antoinette’s version of ruins”, she told the press. But nothing reminded of 18th century France. It was more like modern streetstyle meeting 17th century – and it was clearly a celebration of fashion and clothes.
The models wore pilgrim shoes with giant shiny buckles,and large furry hats. It was magical and poetic. A cacophony of textures and colours, Jacobs evoked a strange sort of folkloristic glamour. There was a continuation of the past two season’ fascination with contrasting fabrications. Wool stoles were buttoned over wool coats worn on top of patchwork skirts above cropped pants. Prints ranged from oversize paisleys to floral pencil drawings, and holographic appliqués dripped off dresses. Volumes were turned up to, including padded hips.
For a change, Marc Jacobs closed the New York Fashion Week. The Lexington Avenue Armory was decorated like a dance hall situated in the twenties. As the Philip Glass opera Einstein on the Beach started, a sweeping gold curtain parted to reveal all the models waiting to hit the runway.
The collection was a cocktail of strange elements. Starting with the see-through plastic cowboy boots. And also: drop-waist flapper dresses, denim workwear, clear plastic sewn into skirts and dresses, sporty sweatshirts, and techno-checks. Some of the silhouettes looked like last season’s narrow silhouettes, but there were also boxy, drop-waist shapes that reminded of the 1920′s. There was plenty of fringe, bold-colored sequins and paillettes, and a lot of that clear plasticTextural experimentation was strong in this collection. To journalists backstage, Jacobs explained he didn’t want his collection “to feel real”.
It was all about polka dots and looking polished at Marc Jacobs. Again, but now two decades later Marc Jacobs decided to use his favorite print again. It was a big step from his YSL/Seventies inspired spring-collection, but the designer couldn’t care less. He told WWD he’d thought about all things he’d done in the past and what he’d loved. He ran through all of his collections and presented his description of classic. From the trompe l’oeil to the polka dots to the glam collection that had the rubber, and the sweats that he’d done, all those crazy American classics. He just wanted to have fun.
We’re familiar with his mood-swings now, so it’s goodbye to gentle fluidity and hello to an austere line that was sliver thin and had a couture-like precision but also a girlish charm. The dots came small, medium and large; matt and shiny; flat and 3D and in an various fabrics: prints and embroideries, rubber and pailettes, fur and fake fur. Often Jacobs started with a white shirt as a first layer under a boxy sweatshirt or curvy jacket over slim, sexy skirts. He also showed sweaters, a men’s coat, sailor pants and romantic lace dresses detailed with jabots.
As for accessories, spotted socks, mini-berets and a range of slush-busting snow boots completed the collection. Plus handbags in vibrant car-paint.
What are you wearing during the coming fashionweeks? Your Louboutin-heels, your latest Dries van Noten-jacket or that vintage Prada? Maybe we’ll spot you in Paris, Milan, New York or Amsterdam. During the fashionweeks we refresh our streetwear posts regularly. We don’t judge, we’re not the fashion-police, we just enjoy fashion and your own personal style. Next stop: New York Fashion Week.
Today Marc Jacobs’ models had the same frizzy hairdo as in his other show yesterday. Yet apart from the hair there was a whole different vibe going on. The spring/summer collection had everything in it the Marc by Marc Jacobs brand is famous for: flirty, playful, bright, young, wearable clothes and accessories.
Marc Jacobs chose orange and bright (almost neon) yellow as his main colors. He used those in his jumpsuits, summer dresses and skirts. Even the thick bangles and streetwise bags came in those eye-catching shades. Not to mention the models’ orange-colored lips.
The silhouette was feminine and playful at the same time. In most designs the waist was accentuated, the skirts and dresses came by in a flared version and the pants ended above the models’ ankles.
Remarkable were some ultra-short, yet high-waisted shorts and classic bathing suits. Less impressive were several shirt dresses and some navy-inspired red & white striped Tees. Also we must say the helmet hats most models wore on their heads looked kinda awkward.
For men Marc Jacobs came up with long (trench)coats, sweaters and shirts. The legs and sleeves of most pants and jackets seemed too short (7/8), but judging from the female looks this will be the style for next spring.
The male models wore their looks very careless; loose tie, standing shirt collar, tucked up sleeves and sneakers. Very cool & funky indeed!
All looks were perfectly balanced and had the right feeling, color and fit for the slightly younger audience Marc Jacobs aims at with this line. Their might have been an overkill on the stripes, but overall we liked what we saw.
Marc Jacobs’ fashion shows have changed a lot in the last few years. They used to start 3 hours late and Monday night it appeared Marc and his crew was too early. Half an hour before the show his team Tweeted ‘Marc’s ready now. Were waiting for editors.’ Eventually the show started exactly one time, which led to Courtney Love watching only the tail end of the show.
With Vivaldi’s ‘Summer’ coming from the speakers Marc’s first models entered the catwalk. After only one look we could tell what Marc’s inspiration was. His seventies-theme was visible in every little detail.
There were easy breezy dresses, blouses and jumpsuits all, of course, in the right seventies shades (burgundy, amber, coral pink, Byzantine, bright maroon). The busy prints from that era were present too, as well as the flared pants, which we saw on a jumpsuit and a metallic pair of pants. The shorts were tiny and the slits were high. Lots of fabrics were sheer ones and the pants were high waisted.
The make-up was perfect for the show. The models had bleached eyebrows, shiny eyelids (from lots of Vaseline) and matte, stained lips. Their hair was all frizzy and often decorated by an enormous flower.
Those flowers (which were actually lily’s) popped up everywhere in the show. Around the models’ necks and waists and on the collars of their clothes. Large hats, round sunglasses en small bags and clutches completed the looks.
Marc Jacobs brought back the seventies! And he did so in a very cool and modern way. So just like the curvy collection he designed for Louis Vuitton last season this one is bound the set the trend for a whole new fashion season. (And we’re so excited!)
Ps. It was rumoured that the show area is also the backdrop of the spring/summer campaign. Marc Jacobs might have show the campaign in tandem with the show.
Women with curves can be happy ‘cause coming fall is about the feminine silhouette. Breats, hips and butts don’t have to be hidden, but are celebrated! We see circle skirts, wasp-waists and accentuated breats.
Louis Vuitton and Prada definitely were the trend setters for this fifties vibe. Marc Jacobs showed a whole collection full of women-friendly designs. He even let some of the bigger models walk in his fashion show to point out that some extra curves can look just fine.
Miuccia Prada did the same thing. She mainly accentuated the breasts with her dresses. And she let models without a size zero, like our Dutchies Lara Stone and Doutzen Kroes, walk the show.
Apart from Vuitton and Prada designers like Paul Smith, Dries van Noten and Fendi showed some fifty-inspired outfits as well. Dolce & Gabbana did so too, yet they showed pencil skirts instead circle ones.
So this fall, you don’t have to worry about your fuller hips and big boobs. Celebrate them by putting on circle skirts, small waist belts and tight tops.
Ps. Wear a headband or a Brigit Bardot-esque ponytail to complete the look!