^I like both collections, there is no need to compare them. I mean they are(Marc Jacobs and Alber Elbaz) so different.....
Reviews from style.com and New York Times blog (T-magazine)
PARIS, March 2, 2008 – The new, punctual, be-suited Marc Jacobs stood backstage after his Louis Vuitton Fall collection and briskly rattled off the need-to-know: "We just worked with shapes. Darts, folds, and pleats. I don't like to use these words because they sound pretentious, but if you like, last season was painterly, and this season's sculptural."
In essence, what he'd just shown was a more shapely and pulled-together version of the eighties-inflected collection he'd sent out under his own name in New York. If it led to puzzlement at first viewing, now, at least, his intentions can be read in context. Four weeks is a long time in fashion, and in the interim other designers—most notably Stefano Pilati at YSL—have been pushing big pleated pants, scrolliform necklines, and standout dirndls in heavy fabrics.
At Vuitton, what with the abstract conical fez, ballooning pants, and blocklike pump-wedges, the silhouette seemed to have been drawn from Grace Jones in her early eighties heyday, or the moment when Thierry Mugler and Claude Montana dominated Paris fashion. It's never quite that exact in Jacobs' hands, of course, but compared with last season's random, chopped-up, multicolored collage, this was a total top-to-toe grown-up look treated to a toned-down palette of muted browns, dusty blues, mint, and black.
In some ways it seemed right. This is a moment when many designers have intuited the need to chuck out the junk and get back to the cutting table. At Vuitton, even the bags—the bellwether of every change in the economics of desire—have been stripped of jingly junior doodads and are now quieted down to the point where the branding is only visible on embossed surfaces.
The question is whether that meant throwing out baby with bathwater. When the overexaggerated shapes calmed down, some chic things emerged, especially toward evening: a long-sleeved dress with a standout whorl at the hip, a strapless sheath with a caged tulle bustle, and a couple of crinolined dance dresses. Otherwise, though, it was lumpy going.
– Sarah Mower from style.com
March 4th, 2008 5:04 PM
Paris Fashion Week | Louis Vuitton
By Stefano Tonchi
(Pierre Verdy/AFP/Getty)
The Fashion Telex: In which the editors of T: The New York Times Style Magazine file almost-real-time dispatches from the show of the moment. This week, the Telex comes from Paris women’s fashion week. For all past coverage of Paris Fashion Week, click here.
Stefano Tonchi, T’s editor, reporting from Paris on Louis Vuitton —
Marc Jacobs is a genius at catching the mood of the times and ‘doing it better.’ No designer in Paris expressed better than Marc Jacobs the current fashion youth’s fascination with the golden age of prêt-à-porter from the late 70’s and early 80’s (such as Armani, Krizia and Montana, and, of course, Saint Laurent). Every outfit said it loud and clear, from the geometric spiraling hats to the round volumes of the shoulders; from the harem pants to the billowing skirts closing in a fabric arrow; from the gigantic jewelry to the skyscraper-high shoes. Marc’s look is now about being “done,” as he puts it — well-polished, finished and executed with perfect make up and hair. Still it is not nostalgic or retro. He always had a postmodern take on fashion and on trends, and appropriation has been always in his vocabulary. This is what makes him so modern and so fast in always moving ever farther ahead. It is just perfectly ironic the way he’s postmodernly appropriating the designs of the fathers of postmodern appropriation.”
source:style.com; New-York Times blog(T magazine)