Designer Marc Jacobs showcases optimism for fall
Vince Larubina
Issue date: 4/23/09 Section: Web Extras
It can easily be argued that there was no collection as blatantly optimistic as Marc Jacobs fall collection, which took place this February in New York.
He brought together an undeniably Parisian silhouette in acid-trip shades of yellow, fuchsia, violet and lime. The in-your-face colors helped to restore a sense of amusement that the industry is lacking. Can you imagine anything more pleasantly offbeat than a cobalt wool cape jacket with black detail for fall?
In the documentary Marc Jacobs & Louis Vuitton, the editor-at-large of Vogue, Andre Leon Talley, referred to Jacobs as an American genius in fashion. If you were to look through his design evolution, it would become apparent that there has always been a continual theme of taking cliches throughout fashion history and throwing them back out at all the critics in a thoroughly modern, desirable way.
Although he utilized the most popular theme of the season, the eighties, he managed to envision it in a way that other eighties-engrossed designers had not; by taking the stereotypes of the decade and recreating them in a witty way. His designs took a more glamorous approach to the punk rock, anarchic movement of the Reagan era.
The show opened simply enough, with the beginning looks done in shades of sure-to-be-purchased slate and black. The color palette may have been safe, but an attentive glance revealed slits on collars of sweaters, zippers decorating skirts and pop-art swirl patterns on the scarves, boots and handbags.
The party dresses also featured unusual adornments. A black taffeta draped dress was strategically embroidered with stone. Another short black dress was covered with nail head, which looked like a tougher version of dark pearls.
As more looks were presented, splashes of metallic dominated the quiet opening. A short striped radzimir dress, a red sequined long sleeved shirt with a striped skirt and an aqua and marigold velvet coat prepared the eye for the shift in color.
He brought together an undeniably Parisian silhouette in acid-trip shades of yellow, fuchsia, violet and lime. The in-your-face colors helped to restore a sense of amusement that the industry is lacking. Can you imagine anything more pleasantly offbeat than a cobalt wool cape jacket with black detail for fall?
In the documentary Marc Jacobs & Louis Vuitton, the editor-at-large of Vogue, Andre Leon Talley, referred to Jacobs as an American genius in fashion. If you were to look through his design evolution, it would become apparent that there has always been a continual theme of taking cliches throughout fashion history and throwing them back out at all the critics in a thoroughly modern, desirable way.
Although he utilized the most popular theme of the season, the eighties, he managed to envision it in a way that other eighties-engrossed designers had not; by taking the stereotypes of the decade and recreating them in a witty way. His designs took a more glamorous approach to the punk rock, anarchic movement of the Reagan era.
The show opened simply enough, with the beginning looks done in shades of sure-to-be-purchased slate and black. The color palette may have been safe, but an attentive glance revealed slits on collars of sweaters, zippers decorating skirts and pop-art swirl patterns on the scarves, boots and handbags.
The party dresses also featured unusual adornments. A black taffeta draped dress was strategically embroidered with stone. Another short black dress was covered with nail head, which looked like a tougher version of dark pearls.
As more looks were presented, splashes of metallic dominated the quiet opening. A short striped radzimir dress, a red sequined long sleeved shirt with a striped skirt and an aqua and marigold velvet coat prepared the eye for the shift in color.
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