Marc Jacobs S/S 07 NYC

[ShoeGal4Eva]

who on earth is going to wear those ridiculous shoes????

 

[scandinavianchic]

I'm not usually a fan of MJ but I LOVE this collection! yay!

 

[nat_attak]

i really like the stage presentation. kind of remind me of willy wonka but not really. i dont know how to explain it. it's really soft and sparkly. i like the collection.

 

[JuiceMajor]

who on earth is going to wear those ridiculous shoes????

Lindsay Lohan


​

 

[pinnie]

i love this collection.
ITs my fave collection so far.

 

[kuba01]

It's all explained right there ... it's part of a skin cancer "PSA" series. I assume he must know someone who's had it ... (There's also a thread on the campaign.)

source: marcjacobs.com

 

[DosViolines]

source: nytimes.com

September 13, 2006
Cloudlike Clothes to Upstage Stars

By CATHY HORYN

Hitching a ride on the celebrity comet of Ashton Kutcher and Demi Moore as they arrived Monday night at the Marc Jacobs show might make a person feel, you know, special. Or not.

“Stand back! Watch your feet! Get out of the way!”

People scattered, fell back as the couple, seemingly borne along by photographers, scraped past. Yet the truth of the matter is, despite the bodyguards and the hollering and the incredible fuss, no celebrity can compete with the main event, the show. That’s what makes Mr. Jacobs exciting in the fashion world. It’s the knowledge that the effort put into the clothes will always determine our opinion of them, and not another set of factors. Even A-list celebrity fades before Mr. Jacobs’s energy.

It happens that the clothes are very good: light, romantic, strange. Afterward, Mr. Jacobs called the collection “a corny commentary” on how people described his clothes last season, dark and heavy. “I’m not someone who is angst-ridden,” he said. “I just want to make beautiful clothes that girls want to wear.” If only more designers could convince us they actually thought about how young women dress, there might then be more shows of this relevance.

Against the backdrop of Stefan Beckman’s set, evoking a Hobbitland of green hills and sky, and with music from Pachelbel’s Canon (as covered by Brian Eno), the models traveled a two-lane runway, its median filled in with thousands of blue-green lozenges. White, gray, silver and smoky lavender were the primary tones of the collection, beginning with a long-sleeve shirt in Tyvek paper and loose, belted khaki pants that looked splattered with paint, but were in fact appliquéd. A silver trench coat appeared over soft, billowy pants in cream linen, a masculine style that more or less defined the bottom half of the collection. There were also tulip-shape shorts.

Those pants — along with snug caps made from bits of things, including paper and gauze, by the English milliner Stephen Jones — gave the models a nomadic, patched-up elegance. And while Mr. Jacobs didn’t abandon the layers of last season, it was plain he meant to shift the focus to lightness, in the full, airy shape of linen and gauze trousers, in a cropped jacket made from creased rows of cloudy white tulle, in short dresses with flyaway panels of striped silk. These were shown with black wedge shoes, thong sandals with clear spool heals, and soft bags coated with jewel-cut plastic stones.

Just as with last season, the influence of Comme des Garçons and Yohji Yamamoto was present but hardly intrusive. You could picture women going for the individual pieces: the papery shirts, the multilayered cashmere tank tops, the weird tulip shorts. Mr. Jacobs just provided them with a great road map.

 

[KaraDanielle11]

I love this collection! It's so whimsical!!! I love the hats and headbands as well. I think it's just perfect. I really wasn't a huge fan of the f/w 06 layered collections that people just fell all over themselves for. I mean, yeah it's good that layering is in because it gets really cold here in Boston but this is just so pretty and differant. The complete opposite of what I was expecting. It has restored my faith in Marc. Maybe I'll get a MARC JACOBS tattoo just like the one his boyfriend has

 

[JuiceMajor]

Funny that she attach a link to Suzy's article.


​

 

[fashionista-ta]

Suzy sez (iht.com)

**thoughtful review I think**

Marc Jacobs moves toward the light

Suzy Menkes International Herald Tribune

Published: September 12, 2006

With sweet music pouring over a runway that was a grass-green trail among a river of cellophane- wrapped candy, Marc Jacobs created a moment of enchantment. He also proved that his powerful but darkly dour vision of last season could move forward into the light.
The designer's spring/summer 2007 show was the first moment of artistic tension in the New York season, and it captivated an audience of every celebrity hipster in Manhattan, from rapper L'il Kim, through the Spice Girl and football spouse Victoria Beckham to Sofia Coppola, Jacobs's cinéaste friend.
The rapturous applause was for a moment to savor, from the classical music of Pachelbel's "Canon in D" on the soundtrack to the nonclassic layered outfits.
They had a gentle charm in their diaphanous fabrics, silvered finishes and the glassy jewels that created a glacial surface for a bag or an icy crystal heel on a shoe.
"I was doing the same as last season - but light instead of gloomy - and it shows that it wasn't all those things that people said," Jacobs said, referring to earlier criticism that he had reworked "grunge" or that his piled-on clothes had a complex message for a fearful world.
The new collection was again multi- layered, whether it was Zouave pants wafting under coat and skirt or over- lapping pieces of fabric undulating above the surface of a dress. But instead of dark and muddy colors, this was a graphic exercise in black, white and shades of gray fading to transparency. The headwear - silver helmets or sheer flowers nudging the ear - showed the milliner Stephen Jones in perfect harmony with the clothes.
They were not awkward or obscure, but rather simple parkas, short jackets or even T-shirt dresses. The mixes might be offbeat, but the pieces far from weird, with comfy cardigans or draped dresses. And even when the Zouave pants opened at the side, the effect was graceful and ethereal.
Poetic is a word often banded about in fashion, but this show had a poetic vision, showing how graciously the designer has allowed his iconic girl-woman to grow up. It marked a high noon for Jacobs's talent and a moment when harmony came back into the fashion lexicon after a long fall from grace.
Just because a fresh, light-handed womanliness is the new definition of avant garde style, designers who never wavered from classic elegance are looking pretty good.
Oscar de la Renta's show had the U.S. Open tennis victor Roger Federer on the front row, and it served up several aces - not least the casual cable-knit tennis cardigan and the raffia-embroidered minidress worn by a model who presented the sports hero with a bouquet.
In fashion, as in tennis, a good designer like de la Renta knows how to raise his game and to respond to a change of pace. Without ever moving from his position as a creator of upscale clothes, he worked in modern touches such as rounded hems and pointed-toe flat shoes. The big changes were to the surface as crunchy crochet, raffia embroidery, crinkly chiffon and chantilly lace enriched deceptively simple dresses. A poppy pattern in red or blue brought summer into full flower.
Big bouffant hair and gilded leather sandals identified the Oscar de la Renta woman with the private-jet set. And she even had a stylish transparent bag for those pesky airport security checks.
Carolina Herrera had the word to sum up her collection: "Light - all so light!" she said, referring to gauzy dresses, a blush-red chiffon blouse with broderie anglaise pants and lacy ribbon dresses. The ladylike look that Herrera has always championed is now the height of style, and the designer gave a fresh energy to the dresses and blouses that were the keystones of the collection. The skill was in the graphics: the use of black and white and the idea of making dresses as simple shifts with the focus on the fabric.
Feminine but unfussy draped jersey dresses were judiciously mixed with the eyelet fabrics and daisy pattern. Now that girly looks and Paris Hilton pink seem like yesterday's trend, Herrera's womanly clothes, juiced with blood orange, were right on target.
The fashion duo behind the label Proenza Schouler were supposed to be a new generation of uptown designers, but the collection from these two young men was not a patch on New York's old pros. Fatally looking to the 1980s for inspiration, Lazaro Hernandez and Jack McCollough put themselves in the uncomfortable position of resuscitating the sexpot, brassiere-top dresses of Azzedine Alaïa and the bandage-wrap skirts of Hervé Léger - out of time and without the effortless constructions that made the power- woman clothes work first time around.
The designers had a nice sense of color, mixing subtle stripes of lichen green with petrol blue and mauve. They also sent out some desirable pieces like short coats with controlled volume and quilted surfaces that followed the geometric lines of the collection.
But the model Karolina Kurkova, with her to-die-for perfect figure, summed up the show - from the front row rather than the runway.
"Very '80s," she said. "And very difficult to wear."


With sweet music pouring over a runway that was a grass-green trail among a river of cellophane- wrapped candy, Marc Jacobs created a moment of enchantment. He also proved that his powerful but darkly dour vision of last season could move forward into the light.
The designer's spring/summer 2007 show was the first moment of artistic tension in the New York season, and it captivated an audience of every celebrity hipster in Manhattan, from rapper L'il Kim, through the Spice Girl and football spouse Victoria Beckham to Sofia Coppola, Jacobs's cinéaste friend.
The rapturous applause was for a moment to savor, from the classical music of Pachelbel's "Canon in D" on the soundtrack to the nonclassic layered outfits.
They had a gentle charm in their diaphanous fabrics, silvered finishes and the glassy jewels that created a glacial surface for a bag or an icy crystal heel on a shoe.
"I was doing the same as last season - but light instead of gloomy - and it shows that it wasn't all those things that people said," Jacobs said, referring to earlier criticism that he had reworked "grunge" or that his piled-on clothes had a complex message for a fearful world.
The new collection was again multi- layered, whether it was Zouave pants wafting under coat and skirt or over- lapping pieces of fabric undulating above the surface of a dress. But instead of dark and muddy colors, this was a graphic exercise in black, white and shades of gray fading to transparency. The headwear - silver helmets or sheer flowers nudging the ear - showed the milliner Stephen Jones in perfect harmony with the clothes.
They were not awkward or obscure, but rather simple parkas, short jackets or even T-shirt dresses. The mixes might be offbeat, but the pieces far from weird, with comfy cardigans or draped dresses. And even when the Zouave pants opened at the side, the effect was graceful and ethereal.
Poetic is a word often banded about in fashion, but this show had a poetic vision, showing how graciously the designer has allowed his iconic girl-woman to grow up. It marked a high noon for Jacobs's talent and a moment when harmony came back into the fashion lexicon after a long fall from grace.
Just because a fresh, light-handed womanliness is the new definition of avant garde style, designers who never wavered from classic elegance are looking pretty good.
Oscar de la Renta's show had the U.S. Open tennis victor Roger Federer on the front row, and it served up several aces - not least the casual cable-knit tennis cardigan and the raffia-embroidered minidress worn by a model who presented the sports hero with a bouquet.
In fashion, as in tennis, a good designer like de la Renta knows how to raise his game and to respond to a change of pace. Without ever moving from his position as a creator of upscale clothes, he worked in modern touches such as rounded hems and pointed-toe flat shoes. The big changes were to the surface as crunchy crochet, raffia embroidery, crinkly chiffon and chantilly lace enriched deceptively simple dresses. A poppy pattern in red or blue brought summer into full flower.
Big bouffant hair and gilded leather sandals identified the Oscar de la Renta woman with the private-jet set. And she even had a stylish transparent bag for those pesky airport security checks.
Carolina Herrera had the word to sum up her collection: "Light - all so light!" she said, referring to gauzy dresses, a blush-red chiffon blouse with broderie anglaise pants and lacy ribbon dresses. The ladylike look that Herrera has always championed is now the height of style, and the designer gave a fresh energy to the dresses and blouses that were the keystones of the collection. The skill was in the graphics: the use of black and white and the idea of making dresses as simple shifts with the focus on the fabric.
Feminine but unfussy draped jersey dresses were judiciously mixed with the eyelet fabrics and daisy pattern. Now that girly looks and Paris Hilton pink seem like yesterday's trend, Herrera's womanly clothes, juiced with blood orange, were right on target.
The fashion duo behind the label Proenza Schouler were supposed to be a new generation of uptown designers, but the collection from these two young men was not a patch on New York's old pros. Fatally looking to the 1980s for inspiration, Lazaro Hernandez and Jack McCollough put themselves in the uncomfortable position of resuscitating the sexpot, brassiere-top dresses of Azzedine Alaïa and the bandage-wrap skirts of Hervé Léger - out of time and without the effortless constructions that made the power- woman clothes work first time around.
The designers had a nice sense of color, mixing subtle stripes of lichen green with petrol blue and mauve. They also sent out some desirable pieces like short coats with controlled volume and quilted surfaces that followed the geometric lines of the collection.
But the model Karolina Kurkova, with her to-die-for perfect figure, summed up the show - from the front row rather than the runway.
"Very '80s," she said. "And very difficult to wear."

 

[Lena]

the wwd collection review

MARK JACOBS
Fashion is global.

An overused cliche, perhaps, but not entirely true, as we still take very different expectations to the various fashion centers. And Paris still reigns as the capital of fashion thrills.

Which is why that semiannual trek to the Lexington Avenue Armory is so packed with anticipation. We go expecting more than a pretty dress, and almost always, Marc Jacobs delivers, often rejuicing favorite motifs with a new punch.

Even so, well into his mature designer phase, the flowering of the past few years has been something to see, growth that found breathtaking expression in the collection he showed on Monday night. It exemplified very clearly the influence of 10 years in Paris on Jacobs' American roots, his natural audacity and wit refined and bolstered by the French sophistication and obsession with creativity.

The collection gave a lyrical aura to some pretty outlandish themes, "lighthearted and a bit corny," according to Jacobs. "Too conventional feels old-fashioned."

He showed against a stunning Stefan Beckman set, sweeping wallpaper hills behind a bright green runway raised over a rippling stream made of candy.

Jacobs kept the palette and the mood light as air — the music was a variation on Pachelbel's "Canon in D" — despite the abundance of stuff worn in various displays of eccentricity, the overall girliness twisted by a faux-butch counterpoint.

There were mesmerizing metallics, cellophanes, laces, ruffles, avian appliqués, jersey collages, glitter and khakis, not to mention ample evidence that Jacobs has developed a headgear fetish. "The more loaded up, the better," he said. "People like fashion at the moment."

It's hard to imagine fashion girls not liking the gorgeous coats and jackets, winsome dresses, delicate blouses and eccentric Ts. And, of course, the gleefully ostentatious handbags, in pairings of exotic skins with big, flashy jewels.

As for the pants, they were a middle-school English teacher's dream, a lesson in comparatives — tricky, trickier and trickiest, à la early As Four. Still, Jacobs insists they're not a joke.

But no matter. The real message here was about knocking grand fashion off its pedestal so that it speaks to the (rich) girl on the street.

i love bland reviews

 

[fashionista-ta]

style.com

^ Interesting review ... I like it.

People keep mentioning the pants, but they look a lot easier to wear than many from past seasons ...

I also noticed something I don't think anyone has mentioned, techniques that make voluminous clothes more flattering ... these seem like new lines to me compared to what I remember from fall ... make sense?

 

[laika]

fashionista-ta, i agree about the pants. i actually really like them.

I was noticing that about the volumes too--was wondering if it has to do with the 20's type silhouette, where the volume at the hip is balanced by the slender ankles and shoulders and the sleek hat. And the dresses also have narrow shoulders, and are a kind of popsicle shape, rather than tent-like.

 

[MUXU]

this is better than the f/w collection!
im in a love/hate situation here..i love alot of the pieces and question the others

first and fore most...i love the layered dresses and the headsets...that is for certain
the others i need to look over more before i decide whether i like them or not

 

[Spike413]

It's odd, I've never been a fan of the zouave cut, but somehow he made them look appealing. Whether or not they'll look good on real people is another story entirely, but I think the execution was wonderful.

The more I look at it, the more enchanting I find it. It's very serene and optimistic, but there's reality in all of that candy-floss coating.

And to be honest, I think this is one of the better experiments with volume fashion has seen since it began it's obsession. All of that stiff, Balenciaga-esque structure looks striking on a runway, but I just don't think that works on most real women. But volume done too soft just winds up looking sack-like a la Chloe. I think the team really found a balance here.

 

[J'ador-DioR]

I don' t like any of it to be honest. Tacky and overstyled is what comes to mind .

 

[tifa]

utterly horrible. the colours are washed out pastels that just look sickening. the gem stones look like those grow a gem stone kits from the 80s i had when i was about 3. the bags could be from tk maxx's clearance and the shapes...how is this ever going to translate to real life? joke.

 

[fashionista-ta]

link to Neiman's Ken Downing's review

http://www.neimanmarcus.com/store/catalog/template/catF0.jhtml?itemId=cat11780743&parentId=cat000003&masterId=cat000001&cmCat=home4p1&icid=home4p1

 

[Jane Loves Marc]

omg i love marc all over again
its so japanese, im crazy for it!

 

[Ianastar]

didn't MJ get rid of his boytoy??

I just love this collection, and am falling in love with MJ again.