disco54
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- Apr 18, 2006
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I was right about the 1930s working women in this collction even Cathy Horyn made good observations about it : from nytimes.com
Maybe because many designers don’t put enough thought into their collections to warrant our curiosity, much less our investigation, the broader associations Mr. Jacobs offers aren’t readily apparent. In certain respects, the metallic floral prints, the soft turbans and tunic tops — including one in white taffeta embroidered with shimmery leaves — evoked a 1930s glamour. And Stefan Beckman’s mirrored set, which featured a curved wall of doors, led some to think of Golden Age movies like “The Women.” The hard-core fashionistas saw a connection to Yves Saint Laurent’s 1978 “Broadway Suit” collection and its references to Afro-American culture.
In fact the music — George Gershwin’s “Rhapsody in Blue” — told us a lot. The high styling of relatively modest clothes like a faded plaid blouse with a brooch and a jaunty brocade skirt suggested a black aesthetic. And the mix of gingham tops and apronlike tunics recalled not merely the common threads of working women, black or white, but also their drift through the dirty ’30s from country to city. It was an era lifted by hope rather than aspiration.
To be able to evoke those images and emotions without resorting to caricatures, to connect fashion at the liveliest levels to the things we value, is what makes Mr. Jacobs a remarkable designer. He is the best we have. As André Leon Talley, the editor at large at Vogue, said backstage, explaining Mr. Jacobs’s edge, “He makes his own rules, and he breaks them.”
Maybe because many designers don’t put enough thought into their collections to warrant our curiosity, much less our investigation, the broader associations Mr. Jacobs offers aren’t readily apparent. In certain respects, the metallic floral prints, the soft turbans and tunic tops — including one in white taffeta embroidered with shimmery leaves — evoked a 1930s glamour. And Stefan Beckman’s mirrored set, which featured a curved wall of doors, led some to think of Golden Age movies like “The Women.” The hard-core fashionistas saw a connection to Yves Saint Laurent’s 1978 “Broadway Suit” collection and its references to Afro-American culture.
In fact the music — George Gershwin’s “Rhapsody in Blue” — told us a lot. The high styling of relatively modest clothes like a faded plaid blouse with a brooch and a jaunty brocade skirt suggested a black aesthetic. And the mix of gingham tops and apronlike tunics recalled not merely the common threads of working women, black or white, but also their drift through the dirty ’30s from country to city. It was an era lifted by hope rather than aspiration.
To be able to evoke those images and emotions without resorting to caricatures, to connect fashion at the liveliest levels to the things we value, is what makes Mr. Jacobs a remarkable designer. He is the best we have. As André Leon Talley, the editor at large at Vogue, said backstage, explaining Mr. Jacobs’s edge, “He makes his own rules, and he breaks them.”
I got more and more excited as I saw more, the shoes and the hats 
I'm really fascinated by the shoes and the hats are just dandy! 
All the pieces have this 'electric feel' (MGMT!) to it; it might be the hats or the materials used to create these wonderful pieces but theres something about them that makes you feel excited!
