Forget Louis Vuitton’s bondage-French maid number last season.
As Marc Jacobs is rumored to be packing his bags for Christian Dior, his new collection seemed to wave goodbye to the vamp he had painstakingly constructed as the polar opposite to his own line.
This show bore some resemblance to the purity of Virgin Suicides, and hijacked symbols of childhood through and through.
With a real-size, white merry-go-round at the top of the runway, models marched down wearing white, eggshell, pastel, and recurrent Peter Pan collars in broderie anglaise. Plenty of day dresses were presented, composed of thick lace covered by an organza slip, all in demure, knee-length pencil shapes.
After lots more 60s inspired innocence, something happened: wide A-line skirts, a tad bouffant, with cropped suit jackets appeared on the runway. Do I spy with my little eye…. something like New Look? Is this show in fact an amuse-bouche, a moodboard, of what he’ll show at Dior?
More youth signifiers appeared, including school-like tartan A-line coats pieced with floral embroidery, paired either with shift dresses or at times, no more than a pair of high waist knickers (Virgin Suicides indeed)
A cheeky juxtaposition of references also appeared through a series of biker jackets and coats in pastel tones – a disturbing shade for a symbol that originates from Hells Angels—, with lapel embellished with white buttons resembling a piece of candy.
The bride was, fittingly, the newly wed Kate Moss in a white, feathered over-the-knee dress and slicked back hair with a bejeweled Alice band. Fit for Kate and Lila.
Reviewedby Alice Pfeiffer