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It’s been over a year now since Marc Jacobs left his post at Louis Vuitton. Good breakup or bad, splitting up is hard, and it sort of showed in his last two collections for his own label. Both last Fall’s offering, over which Jessica Lange intoned unconvincingly that “happy days are here again,” and the all-army green lineup he presented for Spring felt not exactly dour, but definitely melancholic. Tonight’s show was something very different, with a Stefan Beckman-designed backdrop inspired by Jeremiah Goodman’s painting of Diana Vreeland’s sitting room and a bone-rattling loud soundtrack lifted from Darren Aronofsky’s Requiem for a Dream, both of which fairly screamed, “I’m back!”
Photo: Gianni Pucci / Indigitalimages.com
Photo: Gianni Pucci / Indigitalimages.com
The clothes lived up to the advance billing. From the relatively quiet start of Erin O’Connor’s almost-black checked sheath with four wide bands of bugle beads below the waist, the collection built and built. It touched on metallic brocades and leopard print, chevroned mink, grommeted leather, nailhead studded silk, and embroideries that looked like digitized and pixelated portraits of the eccentric Vreeland. “She was a genius,” Jacobs said of the legendary Vogue editor backstage. “She got the whole fashion thing: being decisive, being so excitable, and then being as passionate and dismissive about the very same thing the next day.” Jacobs read her Memos book while he was working on the Fall collection; the surprise is that he hasn’t made a muse of Vreeland before. “I felt like that’s what fashion is,” he continued, “that complete addiction, obsession, that I’ve-got-to-have-it need until I basically wouldn’t be caught dead in it.”
Photo: Gianni Pucci / Indigitalimages.com
Photo: Gianni Pucci / Indigitalimages.com
Over the years, Jacobs has produced that obsessive feeling in fashion lovers more reliably than most. As the models paraded by in their polished patent leather boots, you could tick off the looks that will get his fans’ blood pumping, from the snake-print coats with jet embroidery to the long, straight column dresses that felt spare despite their swirls of sequins. Will the floor-scraping pleated skirts and the mutton-sleeve jackets that could’ve walked off the set of The Knick make a comeback? Hard to say. They’re definitely not where fashion’s collective unconscious is in early 2015. But who knows? To borrow a quote from the famously quotable Vreeland, Jacobs may just have given us what we never knew we wanted.
Photo: Gianni Pucci / Indigitalimages.com
Photo: Gianni Pucci / Indigitalimages.com
Photo: Gianni Pucci / Indigitalimages.com
Photo: Gianni Pucci / Indigitalimages.com
Photo: Gianni Pucci / Indigitalimages.com
Nicole Phelps, via style.com
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