Marc Jacobs S/S 2009 New York
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BerlinRocks
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everything is in the styling ...
Laura and Marie Ingalls made a timetravel from late XIXth to now and host a party for their world travel ...
i don't know if it makes sense but that's how i feel RIGHT now ...
Laura and Marie Ingalls made a timetravel from late XIXth to now and host a party for their world travel ...
i don't know if it makes sense but that's how i feel RIGHT now ...
i quite love this! finally some fun on a ny catwalk. it looks quite dark and layered if you compare it to other ss collections of his, but the styling was spot on, quite cohesive collection, beautiful (must-have) shoes (from the ones that had platforms i only liked the satin knee boots, tight up like an espadrille)
i dont know why but i see quite a spanish vibe in this (circa 1940s)
i dont know why but i see quite a spanish vibe in this (circa 1940s)
liashoes
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Review:
Marc Jacobs: The Americans By Cathy Horyn
A piece from the Marc Jacobs spring collection. (Louis Lanzano/Associated Press)
There has been so much talk in this election year about what America is and what it isn’t. For writers, musicians, artists and, yes, fashion designers it has always been a fertile subject, especially for those willing to think about American life and history at all its complex and contradictory levels. Marc Jacobs tonight in New York really evoked that quality of thought. During the show, staged on a runway lined with mirrors and with mirrored dressing room doors at the start, people were wondering if his reference was the 1939 film “The Women.” Others remembered the checks and straw boaters in Yves Saint Laurent’s 1978 “Broadway Suit” collection. A few hacks said Mary Poppins.
But the clue was in the music: Gershwin’s “Rhapsody in Blue,” its jazzy whine heard throughout the show. There was very much an American aesthetic, country to city, running through the layers of prints and ginghams, the belted jackets over black suffragette skirts, the 1940s trousers, a slim sleeveless white tunic embroidered with leaves, the tops that resembled over-the-shoulder aprons, the soft little turbans, and a stunning pair of simple evening dresses done in a narrow red and white stripe. One could also see a black aesthetic and the look of country women in their everyday clothes, especially the sashed apron/work smocks worn with a metallic jacquard print skirt or a pair of wide 40s trousers. Nearly all the models wore slightly flattened hats (thanks to the milliner Stephen Jones), and the jewelry consisted of chunky bangles and bold, ornamental chain necklaces.
The thing is, all these American references are there for anybody to find if they bother to look and then imagine them in a contemporary way. To some degree it might take an American designer living in Paris to see such elements, to honor them in a sophisticated way, and to surprise us all.
But it is possible. There is just that trace of Saint Laurent in the collection, mainly in a sharply tailored black jacket with raised shoulders worn with slim shorts and in the “Broadway” reference. But that liberal freedom to use what Jacobs needs is also what makes this collection so powerful.
It put people in a good mood as they gathered backstage to talk to Jacobs and watch the usual crush with celebrities (Jennifer Lopez, Victoria Beckham et al). As Michael Roberts of Vanity Fair said, “It was so much more up than when he tries to be cool. It was great. I was happy to be here.”
runway.blogs.nytimes.com
Marc Jacobs: The Americans By Cathy Horyn
There has been so much talk in this election year about what America is and what it isn’t. For writers, musicians, artists and, yes, fashion designers it has always been a fertile subject, especially for those willing to think about American life and history at all its complex and contradictory levels. Marc Jacobs tonight in New York really evoked that quality of thought. During the show, staged on a runway lined with mirrors and with mirrored dressing room doors at the start, people were wondering if his reference was the 1939 film “The Women.” Others remembered the checks and straw boaters in Yves Saint Laurent’s 1978 “Broadway Suit” collection. A few hacks said Mary Poppins.
But the clue was in the music: Gershwin’s “Rhapsody in Blue,” its jazzy whine heard throughout the show. There was very much an American aesthetic, country to city, running through the layers of prints and ginghams, the belted jackets over black suffragette skirts, the 1940s trousers, a slim sleeveless white tunic embroidered with leaves, the tops that resembled over-the-shoulder aprons, the soft little turbans, and a stunning pair of simple evening dresses done in a narrow red and white stripe. One could also see a black aesthetic and the look of country women in their everyday clothes, especially the sashed apron/work smocks worn with a metallic jacquard print skirt or a pair of wide 40s trousers. Nearly all the models wore slightly flattened hats (thanks to the milliner Stephen Jones), and the jewelry consisted of chunky bangles and bold, ornamental chain necklaces.
The thing is, all these American references are there for anybody to find if they bother to look and then imagine them in a contemporary way. To some degree it might take an American designer living in Paris to see such elements, to honor them in a sophisticated way, and to surprise us all.
But it is possible. There is just that trace of Saint Laurent in the collection, mainly in a sharply tailored black jacket with raised shoulders worn with slim shorts and in the “Broadway” reference. But that liberal freedom to use what Jacobs needs is also what makes this collection so powerful.
It put people in a good mood as they gathered backstage to talk to Jacobs and watch the usual crush with celebrities (Jennifer Lopez, Victoria Beckham et al). As Michael Roberts of Vanity Fair said, “It was so much more up than when he tries to be cool. It was great. I was happy to be here.”
runway.blogs.nytimes.com
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liashoes
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Another review:
see the slideshow ›
view full screen ›
NEW YORK, September 8, 2008
By Nicole Phelps
Mary Poppins goes to Dubai. The King and I meets The Postman Always Rings Twice. Yves Saint Laurent's Ballets Russes collection redux. There are as many meanings to derive from a Marc Jacobs collection as there are crashers at his shows. But listen to the litany that Jacobs himself provided after all 53 of his Spring looks—each one more colorful, more multilayered, and more zanily accessorized than the last—had circled his Stefan Beckman-designed Hall of Mirrors runway: "America, womanly, Broadway, Perry Ellis, country, naïveté…"
It was a mash-up to end all mash-ups, and as an American in Paris—that was Gershwin's "Rhapsody in Blue" cleverly playing on the soundtrack—Jacobs is better situated than most to deliver it. He's developed an expat's eye, and could it be that he actually misses the States? In any case, he sees a certain beauty here. Take the fourth look: there was the prairie skirt provocatively bustled turn-of-the-century style, a gingham shirt, a Lurex-shot plaid sash that winked at both the frontier West and his own grunge collection for Perry Ellis, a metallic tweed motorcycle jacket, and, for accessories—ka-ching—a crushed-straw hat, a chunky necklace, and a quilted chain-link bag. Athletic references appeared elsewhere in the form of wide stripes on a pair of sundresses and Lurex-ribbed knit sweaters with baseball jersey-style contrasting sleeves. And mixed in among all the electric colors and the shiny bits were peaked-shouldered black jackets and vests worn with wide-leg trousers cropped below the knee.
This season, nothing escaped Jacobs' roving eye or his melting-pot mentality. And in his hands even a thing like a farm-girl apron gets tweaked and reinterpreted until, impossibly, it becomes the very definition of contemporary chic. "It's about the joy of dressing up," he finally said backstage. And how.
Style.com
see the slideshow ›view full screen ›
NEW YORK, September 8, 2008
By Nicole Phelps
Mary Poppins goes to Dubai. The King and I meets The Postman Always Rings Twice. Yves Saint Laurent's Ballets Russes collection redux. There are as many meanings to derive from a Marc Jacobs collection as there are crashers at his shows. But listen to the litany that Jacobs himself provided after all 53 of his Spring looks—each one more colorful, more multilayered, and more zanily accessorized than the last—had circled his Stefan Beckman-designed Hall of Mirrors runway: "America, womanly, Broadway, Perry Ellis, country, naïveté…"
It was a mash-up to end all mash-ups, and as an American in Paris—that was Gershwin's "Rhapsody in Blue" cleverly playing on the soundtrack—Jacobs is better situated than most to deliver it. He's developed an expat's eye, and could it be that he actually misses the States? In any case, he sees a certain beauty here. Take the fourth look: there was the prairie skirt provocatively bustled turn-of-the-century style, a gingham shirt, a Lurex-shot plaid sash that winked at both the frontier West and his own grunge collection for Perry Ellis, a metallic tweed motorcycle jacket, and, for accessories—ka-ching—a crushed-straw hat, a chunky necklace, and a quilted chain-link bag. Athletic references appeared elsewhere in the form of wide stripes on a pair of sundresses and Lurex-ribbed knit sweaters with baseball jersey-style contrasting sleeves. And mixed in among all the electric colors and the shiny bits were peaked-shouldered black jackets and vests worn with wide-leg trousers cropped below the knee.
This season, nothing escaped Jacobs' roving eye or his melting-pot mentality. And in his hands even a thing like a farm-girl apron gets tweaked and reinterpreted until, impossibly, it becomes the very definition of contemporary chic. "It's about the joy of dressing up," he finally said backstage. And how.
Style.com
helmut.newton
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WOW this is genius.
Who would have thought to combine all the references that Marc did with this?
It's just pure brilliance! I love the world's he creates and the women that live in them! I want to live there with them!!!!!!!
What version of "Rhapsody in Blue" was used? And by who?
Who would have thought to combine all the references that Marc did with this?
It's just pure brilliance! I love the world's he creates and the women that live in them! I want to live there with them!!!!!!!
What version of "Rhapsody in Blue" was used? And by who?
BerlinRocks
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the 2 reviews are exactly the same ...
thnks sooo much press files .........
was Suzy Menkes in the audience ?!
thnks sooo much press files .........
was Suzy Menkes in the audience ?!
helmut.newton
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I'll post the details from style.com 
style.com
style.com
helmut.newton
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style.com
helmut.newton
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BerlinRocks
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the espadrilles are just sooo wrong !!!
helmut.newton
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Thanks for posting liashoes!!!
The shoes are INSANE!! They remind me of deco furniture crossed with really ornate jewellery! Pieces of artwork in themselves!
The shoes are INSANE!! They remind me of deco furniture crossed with really ornate jewellery! Pieces of artwork in themselves!
stateofbliss
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The colors are beautiful and I love the patterns. Those shoes!
The accessories!
Overall, great collection. I'm impressed!
The accessories!Overall, great collection. I'm impressed!
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