The first indication that Marc Jacobs was going to take his collection into a unexpected new direction were the program notes. Usually at one of his “must see” shows Jacobs spells out every fabric choice, designer embellishment and silhouette option he puts out on the runway. This season he whittled down the explanations to a one or -at most- two word answer.
For example the model Ruby Jean Wilson, who opened the show, wore a “t-shirt short.” A succinct account of the white t-shirt with six black vertical lines across the front and matching brief black shorts the model wore. “That’s all it was,” said Jacobs backstage to describe his collection while he smoked a post show cigarette. “There was no need for any description. It was black and white. Red. Grey. Beige. Dress, dress skirt - no need to know what fiber it is.”
And he was right. This show spoke for itself. Once again the designer had done a 180 on the fashion universe. How many times does that make it now? Transporting it to the swinging sixties look of Marion Foale and Sally Truffin, where graphic and bold outfits were the name of the game.
But as always Jacobs gave his own slant to the style by ever so slightly exaggerating the proportions. So the stripes were just a bit wider, skirts, in general, hit just below the knee and maxi sequined evening dresses that finished off in “car wash” like panels were soften up with chiffon. The elongated silhouette of the show helped to amplify the vivid effect of the vertical, horizontal and sometimes curvy stripes that dominated the almost every outfit- with just a few checkerboard and animal prints thrown in for good measure.
There were no frills to this collection – if you discount the odd ruffle or two at a cuff or collar. It was a take it or leave it statement show that was brutally honest and starkly real. It was referential, to be sure, but it also had an authenticity to it that made it feel thoroughly modern.
- Jessica Michault