Marc Jacobs’ Street Steppes
By Godfrey Deeny
February 07, 2006 @ 11:29 AM - New York
Nothing was quite what it seemed in the marvelously poetic Marc Jacobs show in lower Manhattan on Monday night. And, after a weekend of banal shows, it was remarkable to see a spectacle that was that very rare thing in fashion – a work of art.
In a wonderfully poetic moment, Jacobs mixed oodles of disparate elements to create a vision of some newly discovered world, recognizable in its parts but not at all in its whole.
That was true about pretty much any component of this extraordinary show, beginning with the giant wooden set and dual catwalk itself. Was it a Constructionist battlement or some view of the Urals, over which the designer flew on his recent jaunt between Hong Kong and St Petersburg? Neither, it turned out – but “a fractured New York City,” Jacobs told FWD post-show.
Or take the surging soundtrack - Holst thought somebody, or a Shostakovich score for a Soviet era movie. Nope, but instead the Heroes Symphony by Brian Eno and Phillip Glass.
“I said that the show was inspired by my trip to Russia and Hong Kong, but as this was a business trip for Louis Vuitton, you never really see much anyway,” he cracked.
Featuring Tartar fur hats, foragers' boots and Mongolian upturned snow shoes, there was plenty of Russian imagery, though always with a Western urban streak.
The packed out audience of some 2,000 in the Armory on lower Lexington Avenue was focused on the footwear from the get go, as the shoes' late arrival from Europe meant tardy fittings and a show that started two hours after its scheduled slot. One side effect was, unusually for a Jacobs show, the lack of any detail on the clothes in the program notes. Though its cover did carry a poignant dedication to the late, great Kal Ruttenstein; “We will miss you,” it read.
The footwear turned out to be pretty revolutionary, from patent leather Rodchenko like platforms in black or gold and enormous construction boots to floppy performed suede boots and bulbous schoolmarm socks. Suddnely every woman at the event was shod in redundant shapes.
With every ankle covered on Marc’s super hip model casting, the amazing footwear seemed like on inversion of the whole Victorian idea of the eroticism of the ankle. Somehow Jacobs reversed this and made being covered up seem sexy.
Mentioning Nike and sports references, Jacobs added that he wanted the whole collection to look “very street,” which is a tad ironic given the returning from the country market look of many of the heavily layered looks. Made in heavy, heavy fabrics like hefty check tweeds, padded cottons and clumpy woolens, there was a sophisticated bag lady feel, again ironically given most of the models carried large, opulent bags.
Like his twisting runway, which took a dramatic U-turn, Jacobs suddenly switched gears for evening, with some gorgeous dresses in a mish mash of decomposed sequins, distressed gold and black tulle with the penultimate look on Lily Donaldson, the item everyone will want to shoot.
A work of art, did we say? Yes, in the very real sense that by the power of his imagination and the skill of his huge cast and backup team Jacobs in those 12 minutes transported his privileged audience into a whole world they never knew existed. And, won’t ever catch again, for a film will fail to capture the majesty of the moment.