Marc Jacobs Fall 2019
Nicole Phelps of Vogue about the show: “Marc Jacobs and his stylist Katie Grand made headlines last week when they helped Tomo Koizumi, a Japanese designer Grand discovered on Instagram, put on a show in the basement of Jacobs’s Madison Avenue pop-up store. Fashion loves beginnings and this was a big one, stamped with not just the imprimatur of Jacobs and Grand, but also of hair and makeup stars Pat McGrath and Guido Palau, and the actress Gwendoline Christie, who took a catwalk turn. Tastemakers assembled, and Koizumi’s giant rainbow polyester organza poufs were the talk of the slow-to-heat-up New York collections.
Fairy god-parent duties over, it was Jacobs’s turn in the spotlight tonight. Though it’s been decades since his own beginning, he’s still essential viewing. The collection had prodigious volumes in common with Koizumi’s “ruffle armor.” The American designer has been exploring hyper-proportions for a couple of seasons now, via the 1980s silhouettes of Claude Montana and Yves Saint Laurent. Grand shapes were back again for Fall, but this time Jacobs was looking in the mirror, rather than at the couturiers of old. His repertoire is full of cloth coats and capes, of shredded tulle party dresses, of A-line skirts and crewnecks, of Prince of Wales pantsuits. Only here, in many cases, they were taken to extremes, the coats and capes pumped up with air, the dresses made more expressive with layers of crinolines…” (For more go to Vogue.com)
Bridget Foley of WWD about the show: “You have to come to New York to see a private couture show.”
That observation came from no less an aficionado of the haute genre than Sidney Toledano. Surely the couture notion crossed some other minds of those exiting the Marc Jacobs show on Wednesday night after what was a dazzling display of fashion. Jacobs scaled everything back but the fashion impact. He showed 40 looks, fewer than his typical 60-plus, to an audience far smaller than usual. Yet he kept the show at the vast Park Avenue Armory, where he installed a reflective black glass floor and hired the American Contemporary Music Ensemble to perform live. He positioned the quartet off in a corner, far from the runway but well-lit and very much in view as the models proceeded out, each commanding the space solo and exiting fully before the next girl emerged. It all coalesced into a haunting dialogue between intimacy and distance…” (For more go to WWD.com)