Fashion Wire Daily: the First Word in Fashion


Versus Hires Jonathan Anderson November 29th, 2012 @ 11:04 AM

Cacharel Unveils New CEO, in Major Corporate Revamp November 21st, 2012 @ 00:56 AM

Kane Drops Out of Versus in Major Shake-up November 20th, 2012 @ 10:14 AM

Pucci’s Madison Avenue Store Debuts Massive Expansion November 16th, 2012 @ 00:35 AM

Ghesquière Departs Balenciaga in Major Surprise November 05th, 2012 @ 00:43 AM

Sao Paulo Fashion Week: Between Optimism and Fear November 02nd, 2012 @ 00:28 AM

London Unveils Men’s Season Schedule November 01st, 2012 @ 00:36 AM

Azzaro Releases Castello Branco October 25th, 2012 @ 00:18 AM

Revenue Soars 22 Percent at LVMH in First Three Quarters October 16th, 2012 @ 00:18 AM

Rykiel Names Geraldo da Conceicao Artistic Director September 21st, 2012 @ 8:12 PM

Brazil’s New London Pop-Up September 21st, 2012 @ 7:20 PM

McQueen Men Returning Home to London September 12th, 2012 @ 7:19 PM

Roitfeld, Mum and Son, Open in Brazil September 07th, 2012 @ 00:54 AM

Berluti Opens to Big-Time Business in London September 06th, 2012 @ 3:27 PM

Stefano Pilati Back with a Bang at Zegna September 05th, 2012 @ 7:10 PM

Hugo Boss Wows in Berlin, Plans for New York July 06th, 2012 @ 00:17 AM

Salvatore Ferragamo: Crusin’ the Louvre June 13th, 2012 @ 11:04 AM

Michel Klein Gains New Backer; Launches Sunglass Collection June 13th, 2012 @ 00:48 AM

Sykes Jettisoned by Aquascutum; Maurer In at Rabanne June 06th, 2012 @ 00:18 AM

Armani Conquers China, Chastises the Pope June 01st, 2012 @ 11:53 AM


Marc Jacobs: She Wore A Chinese Ribbon

Godfrey Deeny
September 09th, 2008 @ 10:11 AM - New York

John Ford, for whom, ironically, character and not attire mattered most in the creation of his canon, would have loved the latest collection from Marc Jacobs , a wacky yet wonderful vision that recalled a Sunday afternoon walk to service in a prairie town; albeit one were the churchgoers boasted tailors with a sophisticated understanding of Chinese embroidery and enough money to pay for large quantities of passementerie.

But the key look in the Spring 2009 show Monday was a series of padded Chinoiserie wrap coats in erratic pattern prints, which enveloped 53 of the world’s best models. “Cracked, fragmented, broken,” was Jacobs’ own description of the coats, and one that also described the pendants in plastic, copper, fur and wire that looped around many necks.

Jacobs’ penchant for the absurd was evident from the opening look that like many passages was topped by a squashed straw hat. Marc’s other bizarre gifts were the strange yet strikingly beautiful truncated tailcoats in Lurex hues that came with Napoleonic lapels in mustard, or the glittering jacquard pants paired with Western shirts, which despite the odd combination was surprisingly successful.

The show was staged on plain wooden runway divided down the middle by huge freestanding mirrors. The collection rifled through a dozen different influences from Perry Ellis to Yves Saint Laurent, from prairie schoolmarm to penniless Grey Gardens heiress and incorporated much passementerie, using it on earrings, headbands and jacket trims as well as high heel shoes covered with the material.

There are some who say that Jacobs is a brilliant stylist, since some many of his collection consist of mingling existing elements into something new, and creating innovative silhouettes and cuts. However Jacobs’ work is more like hip hop music, based on sampling “found” fundamentals and forging them into something genuinely novel. That aesthetic was underscored by the great Frederic Sanchez soundtrack, a remixed version of Gershwin’s great symphony “Rhapsody in Blue,” itself an early example of sampling, since it mixes the forms and instruments of classic music with the cacophonous sounds of the modern city.

And, as the show built to the finale, the faintly wacky morphed into the elegantly sexy with a series of black and green drop dead gorgeous cocktails, great first date looks that finished with three splendidly cut powder pink columns. And the movie, which had opened with scenes reminiscent of Ford's "She Wore a Yellow Ribbon" ended with the cine noir glam of Orson Welles.

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