Marc Jacobs Spring Summer 2013

A row of mirrors on doors is what greets you in the early hours of the Marc Jacobs show. As they open, you see stripes, ‘60s monochrome geometry and a bold caricature. The show was amazing to say the least because this takes Jacob’s fascination with Europe further, and higher, than his previous collections. The kind of sixties fashion you see on those classic films, is nothing if not elegant and simple.

Yes, simplicity with fine accessories is what costume designers often went for, because this was an era after two world wars, and the United States of America, just like Europe, was still struggling to grapple with the financial cost of two largescale wars, and the difficulties of building cities, that still bore scars of the war, as people’s lives ravaged and displaced by the extremity and sheer force of it all.

When you look at the deconstructed fashion pairings – a T-Shirt with a graphic insignia message you reckon your mom would probably recognize from her vintage television set, and you from archives and vintage finds rummaged from market sales, if the American fashion designer was inspired by it all. Because this isn’t retro fashion, that has been visible during the many fashion weeks this season, somewhat, off-late.

The focus was on modern clothes channelled through how the sixties perceived it: smart co-ordinated separates, in the form of coats and dresses, skirts and jackets, and the matching fashion of bags and pairs of shoes. The necklines sat at ruffled, and the hemlines fell all the way to the floor, and there were long sleeves and ornamental fawn colours for stripes sometimes on the triangular runway that ended up in a point.

After polka dots and Baroque ornaments, this was laidback chic that’s lean and mean, even when your whipping up a pancake and a cup of tea. There was nothing experimental about the collection, except for the inspirations, because there was a sense of belonging in this collection. The low-slung period of the knee-length columns, adorned the models, giving the collection a candy-cane evocation of red and white as well.

This is called a reworking of classic fashion and the materials you have got left up in the attic and the ruffles on the collars and the scalloped hemlines, and buttoned-up plackets on shirt-dresses did just that for Jacobs. Psychedelic fashion that represented checkerboard squares, and houndstooth, as well as leopard spots, were accessorised with square box purses, kitten heels and flat shoes.

The primary elements of the show he was aiming for here, was highlighted in the program notes, “Ruby Jean, T-shirt and shorts.” for the first look, so even if they look like briefs this is popculture how the ’60s know it. The early morning show toyed with ballet T-bars, for models that had blond hair and dark brows, a kind of freespirit amongst the young, that goes from preppy fashion to piled-on style during the latter part of the decade.

Petal hemlines swathed on the catwalk to the tracks of Lou Reed, as some of the models chose to wear vintage hats, dress in black-and-white sequins, expose their bras and knickers, alongside hip-slung skirts and smudge on mascara atop their eyes.  There was no politics here, this is simply strictly fashion! 


About Osmi Anannya

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