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It's been over a year since Marc Jacobs stepped down from his post at Louis Vuitton to focus on his own namesake label. Last night, during his new 6pm NYFW closing slot, he showed a collection that clearly benefited from this renewed attention.
Jacobs has a flair for the dramatic but this time, he ditched the elaborate sets of past shows for a straightforward elevated runway. Models, lips painted dark and hair twisted into top knots at the front of the head, walked against a backdrop that felt like a cobwebby Victorian living room—the eccentric beauty look and set a homage to fashion editor Diana Vreeland and her iconic red room (or "garden in hell").
Models walked to the cacophonous sounds of "Meltdown" and "Lux Aeterna" by Clint Mansell off the soundtrack of Requiem for a Dream—Darren Aronofsky's crushing film about drug abuse. Booming and disconcerting, it clashed with the prim and proper women walking down the runway in their suiting, long dresses and elbow-length gloves.
Jacobs's military-inspired collection from last season featured numerous looks embellished by large, glossy cabochons. A cool effect, but not very commercial—the kind of thing you can imagine wilting on a hanger in a corner of the designer section at T.J.Maxx a year later. Neither was the season before, where Jacobs leaned hard into the seventies with a series of beige-y dresses, or the season before that, where he paired oversize, tassel-covered jackets with knee-length dark floral Bermuda shorts and slip-on sneakers.
This time 'round, he presented beautiful investment pieces that we can actually picture women wearing. Despite the serious silhouette, which in some cases called to mind a strict headmistress, each featured enough embellishment to make it feel truly special. There were many long coats, some in bright shades of pink, full pleated maxi skirts, high black boots, cropped sweaters, slinky gowns, and puffy furs. Has Jacobs ever been this commercial? With a future that holds a potential Marc Jacobs IPO, it's about time.