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03-10-2012
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So dissapointed. The checkered pieces are just plain bad IMO, which is a shame because the cuts of the jackets and dresses are quite nice.


Last edited by Miloux; 03-10-2012 at 04:27 PM.
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03-10-2012
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I think this is like all collections designed by Marc Jacobs: it looks grand but there's not much there.

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03-10-2012
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the checks are awful

nice set though!! that's all i like :p

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03-10-2012
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why do i like this? why??? and the bags are absolutely amazing, i love them!!!

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03-10-2012
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I kind of like this?! I think I prefer it to the stripes at Marc Jacobs. The presentation with the twins was interesting. Is it a commentary on homogenization? Cloning? Consumerism (when you factor in the dual elevators)? Airports, uniforms & stewardesses? Or just a gimmick? I don't know, but I thought it looked good.

I guess what appeals to me in the checkered pattern is how it reminds me of "mod" and "ska" - like "The Specials" or something. And I thought the big placement florals were quite pretty while the shapes were clean and spare. So all in all, it is pretty good.

It doesn't move me emotionally, though, and for me, that's a weakness.

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03-10-2012
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Quote:
Originally Posted by Not Plain Jane View Post
I kind of like this?! I think I prefer it to the stripes at Marc Jacobs. The presentation with the twins was interesting. Is it a commentary on homogenization? Cloning? Consumerism (when you factor in the dual elevators)? Airports, uniforms & stewardesses? Or just a gimmick? I don't know, but I thought it looked good.

I guess what appeals to me in the checkered pattern is how it reminds me of "mod" and "ska" - like "The Specials" or something. And I thought the big placement florals were quite pretty while the shapes were clean and spare. So all in all, it is pretty good.

It doesn't move me emotionally, though, and for me, that's a weakness.
Oh NPJ - I was on ignore mode - for this abomination, this modernist abomination. Nuff 60's modernism already. PoMo, east, ease, deconstruction, etc, etc. 90's over 60's. All the way. If we must do retro of any sort. Respecting your writing and assessments, I'd like to pull you away. From this. You are too nice. Yes, stick with your conclusion = emotionally empty - the whole monochrome graphic thing that suffocated NYC. It's as cold as a 1950's kitchen floor. Floors of American diners? The retro Flash commercial? Jacobs, in my book to be carpeted. EmporersNewClothes he. This season square, cold, ugly. Please to leave these gridlines in modernist art history - Mondrian to NeoGeo. They've no place in contemporary PoMo fashion and culture. I don't want fashion to be The Antiques Roadshow. It/I just can't

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03-10-2012
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I like this collection and will go as far as to say that I like the checkered pieces the best - the solid pieces are nice and I don't care for the looks with the applique flora. I like the purses and am mixed on the shoes, and let's be real here, the accessories tail wags the fashion dog at Louis Vuitton. Yeah it is similar to the Marc Jacobs collection but that has been going on for a while, and I would have been more surprised if the collections were not similar.

I actually prefer the Marc Jacobs collection, this is very ladylike and refined (uptown) which is OK, but from a personal taste standpoint, I like the more carefree (downtown) vibe of the Marc Jacobs collection.


Last edited by agee; 03-10-2012 at 11:34 PM.
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LOL, TV - well, it is cold. I already identified that. But the Diane Arbus comparison I read in style's review interested me, and twins, and clones, and even Stepford Wives. But here it doesn't strike me as sweet retro; rather, it's very scary... Really it's almost the concepts the show brought to mind, more so than the clothing itself, that had my interest piqued. But I wouldn't wanna wear too much of this. Well, maybe a black and white checked piece, but only one, and with some doc martins...

p.s. and if I had to pick, I'd take 60s over 50s any day of the week...

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Last edited by Not Plain Jane; 03-10-2012 at 11:52 PM.
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04-10-2012
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Quote:
Originally Posted by Not Plain Jane View Post
LOL, TV - well, it is cold. I already identified that. But the Diane Arbus comparison I read in style's review interested me, and twins, and clones, and even Stepford Wives. But here it doesn't strike me as sweet retro; rather, it's very scary... Really it's almost the concepts the show brought to mind, more so than the clothing itself, that had my interest piqued. But I wouldn't wanna wear too much of this. Well, maybe a black and white checked piece, but only one, and with some doc martins...

p.s. and if I had to pick, I'd take 60s over 50s any day of the week...
Glad to have made you LOL NPJ. nOW i SUuuppose I will have to look at the Style.com review as you know I'm a sucker for any artsy fartsy deepsy dip****. I knock myself as admittedly I'm an avid purveyor of the stuff myself.Is it Jo-ann or Tim? It's damn late/well, early here in darkest London Town.

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04-10-2012
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Style.com
October 3, 2012

PARIS

By Nicole Phelps
Pop! Paris fashion week finished this morning with a six-minute Louis Vuitton show as energizing as it was brief. Marc Jacobs makes it look so easy. The mod, sixties-ish shapes, the eye-grabbing checks, all those miles of legs gliding around on sharp little heels. The girls walked out in pairs—models of efficiency!

Les Deux Plateaux, a famous installation piece in the Palais Royal by the artist Daniel Buren with columns arranged in a grid, gave Jacobs his starting point. The columns' three different heights suggested the show's three lengths—mini, midi, and maxi. Buren also collaborated with Vuitton on today's fabulous set, with its four escalators emptying out on a giant yellow and white check runway.

Vuitton's famous Damier provided the template for the checks—both large and small. Even the floral embroideries were stitched in mini-squares, and the house's iconic Speedy bag got cubed, too. The checks gave this collection a graphic immediacy not unlike that of Jacobs' signature line in New York, where stripes ruled. A month ago, that show got fashion watchers talking about the new minimalism. Backstage today, the designer said, "After the romance of the train and storytelling, this felt like something very powerful without telling a story. I was like, yeah, let's have a grid." A flash of flat tummy between bandeau top and maxi skirt and hipbones jutting out from a cropped jacket and a lean pencil skirt ensured that the collection didn't feel cold, despite its comparative lack of emotion. The sunshine yellow worked its optimistic magic, too.

For a finale, the models streamed down the four escalators like an army of grown-up Diane Arbus twins. The show was a kick. It was also a corrective response to the excesses of last season and a reminder, during a Paris week when other design stars are hogging the spotlight, that Jacobs is as agenda-setting as ever.

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04-10-2012
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As BORING & awful as Marc Jacobs S/S 13.

A designer who only has one idea per season shouldn`t work for 2/3 labels...

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04-10-2012
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He's only agenda setting in that we know this will be all over big editorial come March/April and we fear we will be wowed and come to have to change our minds - so we short circuit and change now. We best read fashion instinctively, emotively - how does it make us feel? Go with that.

I for one am not budging on this starry mag visuals or no. I can't allow modernism back in. We do absolutely live in a post-modern world. I get what you say about 60's over 50's but you think, I believe, of after 67 when pysche and fem and nature started propelling, the leftfield 60s? Like Prada referenced last season - the Beatles turning from modernist happy clappy optimism, JFK tones of LoveMeDo etc to the trippy eastern encounters with the Indian guru, the Dahli Lama and stuff. Though it was just something in the air. What early mid 60's shares with 50's is it's modernism - it's hopefulness. We are more about when stiffs start breaking down, chilling to otherness. That's 67 to 81, 89 to 94 and 2007 to now. Roughly. We waiver - through Thatcher/Reagan coke fuelled city boom and credit fulled post 9/11 denial false overheat, but those, it's now clear, were aberrations. The early 90s and (their cultural uncle) the hazytrip late 60's/70's is the thing. We just can't get back to 60's graphicism or Modernism of any kind. It won't fit. It's a fashion proposal which is a square peg in the round hole of cultural reality.

I'll admit I've not really understood Arbus and twins and stuff so if you think it's worth elucidating further do the honours. But I doubt you can budge me.

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