Marc Jacobs: New York Fashion Week Spring 2013

Imagine Mad Men’s Joan Holloway having a conversation with Sex and the City’s Samantha Jones about what makes a woman sexy. The outcome would resemble something similar to Marc Jacobs’ New York Fashion Week display.  As the mirrored door flipped open and the first model marched down the triangular shaped runway, the 60’s inspired set came to life. It was both eerie and fantastical to watch as though through one of those old black and white television sets. The model’s overly powdered grayish skin paired with black and white apparel and a platinum blonde – nearly silver front-swoop was an ostensible nod to the era. However, suggestive details such as her little black briefs peeking from beneath an oversized striped t-shirt seemed out of place, only in a purposeful Marc Jacobs sort of way.

It was both borrowed and new, the type of innovation that makes a Marc Jacobs show undoubtedly the most anticipatedmarc-jacobs-rtw-ss2013 and fawned over year after year. This time he excelled in recreating the modest and confident dress styles of a 1960’s Manhattan secretary while providing a directional critique on what amount of exposed skin is just enough. Apparently for Jacobs, every look requires a different answer. Whether it was the next to nothing bottoms, blazers cropped just below the navel, mini-hemmed dresses with ruffled collars, or shimmery gowns with high splits and transparent streaks, Marc Jacobs engrossed a necessary distinction between classical styles and conservatism.

Comparing his dicey opening with the next few models, it was clear from the jump that there was no planned sexual progression for Jacobs’ show. One couldn’t predict if the next model would be wearing something closely resembling a previously displayed see-through crop top or something closer to the coverall, psychedelically checkered or striped overcoats prominent to the line. According to Jacobs, “young girls need to learn that sexiness isn’t about being naked,” which would make a show that advanced as the clothing became skimpier and skimpier counterproductive to his declaration.  Instead of presenting a show with a thematic beginning and end like so many designers do, Jacobs developed something more realistically random and much more in line with matters of individuality and personal taste. As this line manifests somewhere allegorically between the 1960 liberal conversations of Kennedy and the old-time conservatism’s of Nixon, there is something here for everyone to enjoy in the end – a prolific outcome much linked to the Marc Jacobs name.

The entire spring 2013 collection can be viewed here.

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